raagmala

Mere dholana - A song of rare excellence

2008-04-29T18:53:00.000-07:00

I came acroos the song "Mere dholana sun,meri pyaar ki dhun" , while watching the film "Bhool bhulaiiya" on my DVD a few weeks ago. I think everyone from the appreciative audience to music critics missed this song totally, The movie no doubt was a super hit and the songs too were a raging hit, especially"Hare Krishna, Hare Ram", but noone appreciated the beauty ofthe above mentioned song. AmImissing something which others have'nt? Is the song a copy of some other original work? If so, then I request someone to point it out to me. It is indeed sad that the common people have completely lost the taste for good tunes which are Raga based. I would like to know, on which Raga is this particular song based on. While the songs of Jodhaa Akbar were appreciated for their spiritual and Sufi element, this song did not get any mention anywhere. The male singer of course is a noted Carnatic vocalist M.Sreedhar, but the surprise package is Shreya Ghoshal. With this song, she has certainly made her mark finally and has left Alka Yagnik and Sunidhi Chauhan far behind. Sunidhi, alas has done a grave injustice to her talent after winning the shows l9ike "Meri awaz suno" and "TVS SaReGaMa" as a child artiste. Shreya too won the same title a couple of years later, but has since honed her skills very nicely and can now sing all varieties of songs. Sunidhi is just reduced to singing saucy item numbers.One more point here. With the advent of digital technology, singers can give "breathless" performances by simply singing ion small takes and then the editors pick them up and cut and paste the songs. It was evident in Mere dholana also, where the last portion of the intricate sargam was sung with the breath held for a great length of time. Or has the singer actually sung it "live" with no takes?

Indian Idol, Voice of India or SaReGaMaPa Vishvayuddh

2007-08-29T05:10:00.000-07:00

These days we are being bombarded with reality shows of the musical kind. Three of them are running simultaneously on SONY (Indian Idol), ZEE (SaRe....) and STAR (Voice of India). All of them claim to be the REAL talent hunt show and are claiming high TRPs and contestant turnout for their show. So which do you readers think is the best show? I would like to analyse each show one by one.

1. INDIAN IDOL - This how SUCKS and sucks heavily! Want to know why? No talent at all! The piano round is over and 14 contestants have been shortlisted for final eliminations. I would say even if they LONGLIST the contestants, they can never put up a decent singer. The fault lies probably with the jury who are dramatists par excellence but poor judges of talent. It is clear even to a tone deaf person that none of the contestants are talented enough even to sing in bathrooms, yet the judges wax eloquent after each performance.The entire thrust in this show is to project the contestants as "Performers" and not singers.Thats why we have participants gaudily dressed up as rockstars and contorting their faces in all shapes and trying to put up a rock show instead of singing decently! BTW where are Abhijit Sawant and sandeep Acharya these days? Why are'nt they singing in any films or any award functions? My opinion - SONY TV, YOU GUYS JUST LOST IT, SO BEAT IT!

2. SaReGaMaPa-VISHWAYUDH -This show does have some talented singers, especially Pakistanis (Amanat, Junaid and Mussarrat) and of course Raja and Aneek. The jury too is more knowledgable but no less dramatic! The episodes where Himesh clashed with Asha Bhosale were hyped up for the sake of TRPs.Yet, the jury do manage to give unbiased views most of the times. Most importantly, there IS talent in at least some of the participants. Also, the show is trying to project singers and not mere hyped up rockstars like Sony TV. My opinion - REASONABLY GOOD SHOW.

3. VOICE OF INDIA - I started watching this show from its Indore auditions only. It is the dark horse amongst all taent hunt shows. The Indore and Delhi auditions were real eye openers for me. One after another there was a steady stream of SINCERE, NATURAL AND TALENTED singers. Their song selection, rendition, performance and presentation was fabulous. Most importantly the show is being projected as a pure singing talent hunt show and so far there doesn't appear to be any compromise on the singing quality of contestants. The show does have its fair share of drama no doubt, yet I found it to be the most watchable show if not for anything else, at least to listen to the talented singers. The singers to look out for in view are Abhaas, Sumithra Iyer, Priyaani and Toshi. MY opinion - THIS SHOW ROCKS ! GO FOR IT!

I request readers to contribute their comments freely.

Vividh Bharathi or FM radio?

2007-06-04T22:04:00.000-07:00

Finally, after much propaganda, 3 FM channels were launched in Bhopal city on 1st June.It is somewhat akin to cable TV channels mushrooming these days. I too was obvioiusly excited at the launch of new FM channels But my excitment is fast turning to disillusionment. For all its media hype, the FM channels are dishing out pure CRAP 24 x 7!!!

Shocking isn't it. Everyone was so eagerly awaiting the launch of FM channels for the past 1 year or so, in order to "teach a lesson" to the AIR. The same AIR which appeared so drab with its oft repeated public service message (quotes of Gandhiji, Vivekananda etc!), the insipid style of news reading (Yeh akaashvani hai....), those programmes for farmers on how to get a better yield for your potato crop, the programmes in afternoon for housewives (Sakhi saheli), the film music on demand for lay public (Man chaahe geet, with demands from Jhumri talaiyya, kaanta toli etc!), the "Fauji bhaiyon ka programme - Jaimaala", the list is endless. With such boring programmes being aired, your mind yearned for something fresh and tangy. In come the FM channels with their peppy hosts, zany ads, traffic updates, phone in talks etc. Yet what happens next - it all fizzles out in no time at all! No doubt, the broadcast is stereophonic, which AIR cannot replicate, I will stand by my Vividh Bharathi.

Why did this happen? Mind you, the public is still enjoying it. Its only yours truly thats complaining. So please read on for my list of grouses -
1. For me, the primary reason that FM channels couldn't hold my attention is UTTER LACK OF VARIETY. From morning till late night you get to hear only one type of music on and on again - latest film songs or remixed old songs set to crazy beats. In fact even the beats in all these FM channels hear the same every time you switch on your radio / moble set.
2. Second reason why FM channels couldn't match Vividh Bharathi is that the FM channels cater to the taste of only one generation i.e. youth whether they be college going or jobbers. What about Old people, housewives, employees in police, defence, government servants, lower middle class section like tailors, dhabawalas, truck drivers, barbers, burchers etc?
3. Thirdly, there is no thought given to different genres of music. All you get to hear is "Dhakchik dhakchik" type of beats and unpronouncable lyrics! What about devotional
music, classical (you got to be joking man!), old film songs, folk songs, etc?
4. Fourth grouse is NO SERIOUS CONTENT. There's no analysis of current affairs. In the name of news you get to 3 headlines!

Die hard FM enthusiasts will argue that for news, and other variety of music you can always go back to AIR. Well then, I AM going back to my beloved Vividh Bharathi and I'm not coming back. For me the day begins with devotional music, foloowed by some classical music and then to GOOD film songs old or new. Its just impossible to rock 24 x 7 with the latest songs like Abhishek does in the Motorola

Composers who brought winds of change in hindi film music

2007-05-28T22:39:00.000-07:00

When "Alam ara" was released in 1931 it created a revolution of sorts since it was a "Talking" film (hence the name - Talikes!). It also had songs picturised on the main characters. From 1931 to 2007, the hindi film music has come a long long way, passing through various phases like simplicity, classical, western, Rock'n roll, Disco, to the current generation of Hip hop etc. Who were the people who gave the film music its form and substance? Who were responsible for it evolving from one generation to another? Lets take a look at them.

1. ANIL BISWAS - He arrived on the scene in 1936 in a big way with "Achhoot Kanya" and the famous song Main ban ki panchchi. This was probably the first hindi film with a full fledged orchestra for its songs. Thus we need not say that the western influence in film music began only in 1970s! This was also the era of K L Saigal, Pankaj Mullick, C H Atma, R C Boral, Noorjehaan, Surendra etc. The music of this era was heavily classical oriented which required formally trained singers. Unlike today's era where even glaring imperfections in voice can be easily masked by technology, then the voice and its inflections had to be perfect. Also we saw "Nasal" voices in that era.

2. THE GOLDEN ERA - It will be a blasphemy if I name only one of the composers of this era, since ALL had an equal role to play in immortalizing this period enshrined as the golden era of hindi film music (From 1950s to 1960s). The protagonists of this period were Naushaad, S D Burman, Shanker - Jaikishen, O P Nayyar, Madaan Mohan, Roshan, Khayyyam, Jaidev, Kalyanji - Anandji, Laxmikant - Pyarelal etc. The last two of ourse continued well into the Disco generation also. In this era for the first time, pulse of the general public was catered to. Thus, apart from classical influence, we also saw heavy rock roll, pop etc. Who can forget S-J's rollicking songs composed for the maerick Shammi Kapoor? All composers at some time or the other DID delve into western music to fuse with the Indian sounds. The resultant music was a heady mixture of Folk, Classical, Western clasical, rock n roll and pop. Thus we had "Laaga chunari main daag" based on Raag Sindhu Bhairavi, "Merra naam chin chin choo" a cabaret song, " Nain lad gayee hai" a folk song and "Thundee hawaayen, lehraa ke aayen" based on western classical, just to name a few!

3. R D BURMAN - He arrived on the film music scene with Chhote nawaab" in 1967. With "Teesari manzil" in 1968 he replaced all others from the top position. His ascent marked a new era in hindi film music. The sounds changed completely towards western orchestration with synthesizer and guitars featuring heavily, in complete contrast to Tabla, Harmonium, sitar etc of he golden era. RD was probably the first composer to experiment with unusual sounds. For example who can forget the opening bars of "Chura liya hai tumne..." played by striking a glass with a steel spoon? Or for that matter the background rhythm in the song "O manjhi re" in Khusboo where he used bottles filled to different levels with water and then blowing into them? In the song "Mehbooba, mehbooba" from Sholay, the opening notes were produced by RD blowing over the top of empty glass bottles! All this is not to tale away the credit from other composers like Kalyanji-Anandji or L-P. They too gave memorable hits in the 70s and 80s era. But you must realize that they gravitated to this genre only AFTER RD proved his succes in this genre.

4. BAPPI LAHIRI - Blasphemy again? Hardly, I would say. The man who gave us sensible, sensitive tunes like "Dheere dheere subah hui" based on Raag Ahir Bhairav or "Zid na karo" from Lahoo ke do rang was also single handedly responsible for ushering in the Disco era in the 1980s. So what if culturally, even in the west, Disco is considered the trashiest of all genres? Bappida captured the mood of the people and revelled in the adulation of public. Thus followed Disco dancer, Tarzan, Saheb, Namak halal and a score of some mediocre songs too. This era then gradually degenerated into trashiness (not that it is any better today !) due to most composers cashing on the disco rage by producing synthesizer sounds with crude lyrics to titillate the front benchers of cinema halls.

5. A R REHMAN - In 1994, Roja was released and film music once again was metamorphosed. Be it Western clasical, Indian clasical, Arabic, Reggae, jazz, rock, Pop, A R experimented with all types of music I think he can safely be credited with the next renaissance of hindi film music after R D Burman, which has made experimentation with other music genres more acceptable today. This has spawned the likes of Shanker-Ehsaan-Loy, Vishal-Shekhar, Preetam, Himesh Reshammiya etc who are experimenting with Hip hop, Sufi, Rock n roll jazz etc. .

Though the analysis ends here, debate will surely take place as to which era was better, with the old timers swearibg by K L Saigal, middle generation by the Golden era and Gennext with Reshammiya etc. I personally favour the Golden era, though I am not that old! Why I like songs of this era I cannot explain satisfactorily. It will suffice to say that I prefer sentimental, classical based songs more than anything else, hence he preferrance to Golden era.

Mine is NOT an original article. In fact it is based totally on Luke Kenny's (Programming head, Channel V) article published in Hindustan Times on May 26th 2007.

Indian classical danceuse Sonal mansingh threatens to return the Kalidas Sanmaan !

2007-05-17T23:53:00.000-07:00

This post once again deals with the ego of an artiste, but this time it is more in suppot of the concerned artiste. I have received enough flak for attempting to paint Kishoritai in a poor light in one of my previous posts! There, it was more about the frills to a performance which could have been done away with.

It has happened on innumerable occassions and it happened again. Kishoritai has been reported to have stopped her recital midway when she espied Farooq Abdullah chit chatting, sitting in the front row. I supprot her stance in this regard at least. It was the turn of the noted Odissi Danceuse, Sonal Mansingh this time to register her protest at the lack of etiquettes shown by the BJP ministers in Bhopal. The same BJP fellas who keep harping about our "Sabhyata" and "Sanskriti" ad nauseum ! It was not a simple performance to boot. The occassion was to felicitate the danceuse herself with Kalidas Sammaan, the highest honour conferred by the MP government. After the felicitations, Sonal Mansingh began her performance and within minutes of commencing, Rajnath Singh, Shivraj Chouhan (CM of MP), Lakshmikant Sharma (ironically, the culture minister !!!) all began to leave the Ravindra Bhavan auditorium. Sonalji was so incensed that she stopped her performance instantly and spoke on the mike regarding such shocking manners or the lack of them! She also threatened to return the Kalidas Sammaan. However, the situaion was somewhat brought under control by the intervention of other dignitaries and ministers and the show then continued till its end.

Similar incident had occured at the residence of Vidushi Gangubai Hangal, the noted singer of Kirana Gharana. In this instance, she was to be conferred the Karnataka Rajya Ratna award by the CM Dharam Singh, who was quite late in arriving as is the wont of all politicians. Gangubai being the outspoken lady she's always been, lambasted the CM after his arrival, who was reduced to his apologetic best !

It only showcases the utter callousness of he ruling lot towards the performing artistes especially classical / folk arts. Had it been Aishwarya Rai's felicitation or any other Tom, Dick and Harry two bit Television stars also, the ministers would have queued up long before the appointed hour to pay homage to those idiots ! I have only disgust for such people. I had expected better manners from the guardians of our "Sabhya" and "Samskari" BJPministers. SHAME ON YOU BJP MINISTERS !

Sufi element in film "Anwar", just fantastic!

2007-05-02T18:10:00.000-07:00

Just heard the music of film "Anwar". Nobody recommended it to me, I just had it in my MP3 which I purchased recently. In fact I skipped it many times while I was listening to some other more famous songs in that CD. I happened to watch "Antakshari" this friday where Vasundhara Das was the invited guest. In the show she sang her song from Anwar "Tose naina lagey....". At that moment however, with the spirit of the Game, I forgot all about it. However last night, I just happened to take out the particular MP3 again in order to play some songs for my daughter. I suddenly remembered Vasundhara's recital and thought lets try out the songs.

It was night and I was dog tired of roaming in the heat (43 degrees C!) all day. When the music started playing, I stopped all my work and was all ears to the song. LO! I was transported to another world. Its haunting music with its soothing rhythm just got to me and since yesterday I must have listened to it at least 20 times! Even the other song "Maula mere..." too is hauntingly sufi in its feel. My daughter too is very fond of this song. Why don't such compositions achieve popularity? Is it that the taste of the public is so bad that they can't tolerate such beautiful compositions?

I want to know who is the composer of this film. Also, I am not able to place the song regarding its original Raga. Can anyone help me?

Greatest hindi film music composer of all times - an analysis

2007-04-24T02:17:00.000-07:00

From the past 2 sundays, HINDUSTAN TIMES is running a series on hindi film music directors, written by Ravi Patwardhan. This started me thinking - who's the greatest of them all? The question is formidable and answer is not easy to seek at all! Consider the array of music directors for this award. You got to choose between, Naushad, Madan Mohan, Shanker - Jaikishen, S D Burman and his son, O P Nayyar, Ravi, Khayyam, Laxmikant - Pyarelaal, Kalyanji - Anandji, Roshan, Hemant Kumar, Ghulam Mohammad, Sajjad Hussain, A R Rehman, Jatin - Lalit, Anu Mallik and last but not the least Himmesh Reshammiya!

How do we begin? First of all we must decide the criteria on which to award. I think the criteria must include - versatility, sound knowledge of music, commercial appeal, appeal across all ages (controversial!) and quality of music (again a subjective matter).

1. Versatility - For this criteria, we can exclude most composers and retain SD, RD, AR, S-J and L-P. I would not like to include O P Nayyar, as his music had started to become repititive in the early 70s after hitting an all time high in the late 50s and throughout the 60s. Naushad saab was more in the mould of a classicist and rarely if ever gave compositions apart from folk tunes or pure classical. At this let juncture let me clarify that versatility according to me means compositions of all types viz, Indian classical, western, devotionals, folk etc. Roshan and Madan Mohan were more into classical music although in "Manmauji", Madan Mohan did give a good western tune in the form of Nakhrewaali!

2. Knowledge - Here, I must include Naushad, SD, S-J and almost all the old timers, since all of them came from the old school of classical musical training. I will include AR also here.

3. Commercial appeal - surely Reshammiya can fit in here if not anywhere else!!! Jokes apart, SD, RD, S-J, Naushad, O P, L-P, K-A, A R, Anu Mallik and Jatin- Lalit can easily make the grade in this category.

4. Appeal across all ages - Songs composed by SD, RD, S-J, O P, L-P, Roshan and Madan Mohan have stood the test of time. Same may not be true of a Rehman or Reshammiya or even Anu Malik.

5. Quality of music - has no relation to its saleability. So, I think all old timers can easily be fitted in this category. As far as newer composers are concerned I'm not very sure of their quality, with the possible exception of Rehman.

Now, to shortlist the nominees. I find SD, RD, S-J and L-P in all the categories. We must therefore find out the greatest amongst these. I must reluctantly add that fans of Naushad, Madan Mohan, Nayyarsaab and Roshan may very well kill me for this act! Now L-P's quality of music I find very slightly inferior to those of SD, RD and S-J, although that's purely subjective. That leaves us with 3 composers. Out of them I will remove RD, as his duration as the top composer was much shorter than that of his father or Shanker - Jaikishen. Both SD and S-J reigned supreme for over four decades and thats no mean acheivement! Now comes the biggest challenge. How do you decide amongst SD and SJ as the greatest? Both reigned at the very top for decades and their careers culminated almost simultaneously. Personally, I favour SD a bit more as most of my favourite songs are SD's. I think I will not go any further and declare both as joint winners!

Readers, please let me know if I have committed any serious acts of omissions and notify me. I apologize to all genuine fans if I have inadvertantly hurt anybody's feeling or offended any sensibilities.

A vibrant dance drama form of coastal Karnataka - Yakshagana

2007-04-01T00:53:00.000-07:00

I'm ashamed to admit that though I hail from coastal Karnataka (Village - Karki, Taluk - Honnavar), I've never ever watched a live performance of a Yakshagana! This, after coming to know years back that our surname BHAGWATH is derived from our forefathers who were singers (called a Bhagwatha) in Yakshaganas! Therefore, when I came to know that Keremane Shambhu Hegdeis going to perform a Yakshagana during the "Anushruti"series of functions in Ravindra Bhavan at Bhopal on 26th March, I decided that the time has finally arrived when I MUST watch a Yakshagana. For the uninitiated, Yakshagana or the song by Yakshas, is a vibrant, vivacious dance - drama form native to coastal Karnataka. Its a centuries old style of narrating mythological stories mainly from the Ramayana, Mahabharata, Puranas etc. On this day, it was to "Duryodhana Vadha", recounting the Pandava's search for Duryodhana and his subsequent killing. The performance began with the "Ranga Pooje" or worshipping of the stage by a lady (actually a male dressed in feminine attire). But I couldn't get the point about worshipping a draped deity, as is evident in the picture below. Any answers anyone ?

Next, came the Pandavas, also draped and revealed their identity later while dancing (pic below).
Pandavas search for the elusive Duryodhana and confer amongst themselves as to his whereabouts (pic below).

Duryodhana in the meanwhile is desparate to hide himself. Sanjaya (old man), who's blessed with divine vision comes to kow of duryodhana's fate and comes to meet him in the forest (pic below). Duryodhana confides to him that he's about to hide himself in a nearby lake.
A Gowda (farmer / woodcutter) eavesdrops on them and rushes to inform the Pandavas about Duryodhana's whereabouts (pic below).
Pandavas reach the lake and try to challenge duryodhana to urge him to come out of his hiding (pic below).

Even Lord Krishna tries his hand at it (pic below), but he comes out only after hearing the challenge of his sworn enemy Bhima.

Duryodhana is given a choice to fight with any one of the Pandavas of his choice. As expected, he chooses Bhima! (pic below)

In the initial encouinter, Duryodhana seriously hurts Bhima who is now fallen down in a swoon. Pandavas are shocked and crestfallen at this turn of events (pic below)

After the divine intervention from Lord Krishna, Bhima is resurrected as it were and after a most controversial prompt from Krishna, strikes Duryodhana on his thigh (pic below)

Duryodhana bites the dust and thus Pandavas avenge themselves (Pic below).

At the end of the super performance when I went backstage to meet the performers I found that all were gathered and were praying to Lord Shiva before removing their attire. It was rather unfortunate that Keremane Shambhu Hegde himself couldn't make the trip and instaed, his son Shivram Hegde performed the lead role of Duryodhana (pic below)

Let me tell the uninformed that Keremane Shambhu Hegde is probably the greatest ever Yakshagana performer. In conclusion I must add that I'm now addicted to this uniquee dance drama form. Actually I never was much interested in ANY form of dance, born as it is I am with two left feet and have absolutely no understanding of rhythm! However, ever since I started accompanying my daughter to her Bharatnatyam classes I have begun to appreciate the dance forms. Thus I wanted to take my daughter & wife to the Yakshagana so that they could enjoy it. However, once the show began, I was rooted to the seat !

An enchanting evening of Old hindi film songs

2007-02-11T23:19:00.000-08:00

It was probably the most enchanting and nostalgic evening that I must have spent in the last 5 - 6 years. The occassion was "Sur Singaar" an evening of a trip down the memory lane of the golden era of hindi film music viz, 1950s and 1960s. It couldn't have been better for me as some of my most favourite numbers belong to this era, the era of singers like Rafi, Kishore, Manna Dey, Mukesh, Lata , Asha and composres like S D Burman, Shanker Jaikishen, Naushad, Roshan Madan Mohan et al.

The evening began with an instrumental peice played on Hawaian guitar. The numbers were "Man re tu..... " from Chitralekha, followed by a a 3 peice duet of O P Nayyar - Zara hole hole, Balma khuli hawa mai and Deewana hua badal. Then the evening took off as it were with one hit after the other. There was one singer in particular Mr Anil Vajpayee, mechanical engineer by profession, who brought alive the memories of Rafisab. I think he just made a wrong decision to enter a tinkerer's profession ! Probab;ly he's right in his own way - he DID tinker with our souls by his flawless and excellant rendering.

What these songs reiterated was that there's just no comparison with the past masters. Where can you bring the magic of Mere mehboob tujhe meri..., Zindagi bhar nahin bhoolegi woh barsaat...., Tumne mujhe dekha ho kar meherbaan, Parde main rehane do etc? I think the credit must go to the composers who fused folk melodies, Indian classical and western music harmoniously to leave an indelible mark on history. Also the singers were thoroughly trained in clasical music (except the maverick genius - Kishore!), who could understand the mood of the scene and sing accroding to the actor / actress. Thus you have Rafi bringing out different quality of voice for Shammi, Shashi, Dileep kumar, Rajendr kumar, or a KK for Rajesh Khanna, Sanjeev kumar or Amitabh! Now we have the same Reshammiya for himself or everyone else, or Kumar Sanu, Babul supriyo, Sonu Nigam for everyone ! No difference at all sir !Even Rehman's orchestration appears same now days. These days you can spot any composer by listening once to his orchestration. All Himesh songs sound same, all Rehman songs the same. Where's the variety? Gone with the past masters I will say !!!

Kishoritai Amonkar - A larger than life ego

2007-02-03T06:54:00.000-08:00

The signs were unmistabale as we approached the gates of Bharat Bhavan in Bhopal. The security cordon was befitting a VVIP or a bollywood star rather than a classical musician. As I presented my invitation card to the volunteers with my daughter in tow, I was issued a warning that children may not be allowed inside the hall. Finally, at the entrance door of the concert hall, security persons almost seized my cellphone as I was slow in switching it off! All this was now adding up to whatever I had heard about the reclusive Diva - Kishori Amonkar. She's the highest paid classical musician in India and is reported to have stopped her recital midway after she spotted a certain Farooq Abdullah chatting in the front row.

Before the start of performance, there were innumerable instructions regarding cell phone, photography, videography etc. The seating arrangement was of the "Baithak" type in Indian fashion. At last the Diva arrived and after sundry intro's the performance began. She commenced with a Vilambit Khayal in Raag Bhoopali and culimnated it with a taraana in drut teental. She then continued with a "Sahela" in the same Raag. Now I must admit to my ignorance about Sahela. I have heard Thumris, Daadras, Chaitis, Kajris and Tappas, but never Sahela. Neverthless it was enchantable. After taking a break of 15 minutes, the Diva then sang a Khayal in Raag Kedaar and ended the evening (nay night !) with a bhajan.

As far as the performance was concerned, let me confess that I am not too fond of the Jaipur - Atrauli Gharaana "Shaili". Niether was I too fond of Pt Mallikarjun Mansoor, nor am I much appreciative of this lady. Since I'm not trained in Classical music, I may not be able to express my point eloquently. I feel that its precisely for this reason that Jaipur-Atrauli gharaana doesn't appeal to people like us. I feel there's too much of "Vyakarana" or grammar and too little of "Shringaar" or adornings, which makes a recital technically flawless, but less beautiful. Its somewhat like the difference between the batting of Sunil Gavaskar and Gundappa Vishvanath !

But that's not he point. What I am about to write is about the massive ego of a person. I sincerely feel that that a "Kalakaar" must be humble above all. Just last month I had attended the concert of Parveen Sultana. What a difference between the attitudes of both exalted personages ! I had blogged about her performance and narrated her humility. Sadly tht's lacking totally in this Diva. At the outset itself she'd said that "Mere paas sirf shaastreeya sangeet ke sur hain, aur aakhir main academic minded persons ke liye bhajan shayad gaoon." To me it means that only her music is music, rest all is hogwash ! I'm sorry madame, I don't agree with you at all. While I too do not consider today's film music as something to cherish, but I dont find anything degrading in Thumris, tappas or Bhajans. Anyways its a democratic country and she'sentitled to her views as I am to mine ! In total contrast, in Parveen Sultana's concert none of such "Nautanki" was evident anywhere. No one was forced to switch off their mobiles. yet, the moment recital commenced, there was pin drop silence. To summarize in th end, I found the atmosphere too "Natkiya" and artificial. I did enjoy the concert despite my misgivings about the gharana, but I came away a disenchanted soul !

Jaaeye aap kahaan jaaenge Nayyarsaab

2007-01-29T21:30:00.000-08:00

Hindi film industry lost one of its most charismatic and enigmatic composers when Shri O P Nayyar breathed his last on the night intervening between January 27th and 28th. If Asha Bhosale could come out of the shadows of her elder sibling, the credit entirely should go to Nayyarsaab. It was he alone who detected the sensuous quality in Asha's voice and the rest as they say, is history. Nayyarsaab's music had the earthly quality of the soil of Punjab, yet at the same time he could infuse a soft romantic quality to his music too. He could compose heavy tragic music also, as is evidenced by "Chain se humko kabhi...." or "Chal akela, chal akela.....".

My personal favourites include:-

1. Udein jab jab zulfein teri- Nya Daur (1957)

2. Mera naam chin chin chu -Howrah bridge (1958)

3. Jaaeye aap kahaan jaaenge- Mere sanam (1965)

4. Pukarta chalaa hoon main - Mere sanam

5.Chal akela - Sambandh(1974)

6. Chain se humko kabhi aapne - Praan jaye par vachan na jaaye (1974)

7. Yeh chaand sa roshan chehra - Kashmir ki kali (1964)

8. Kajra mohabbatwala - Kismet (1968)

9.Ae dil hai mushkil jeena yahaan - Mr & Mrs 55 (1959)

10. Laakhon hain nigaah main - Phir wohi dil laaya hoon (1967)

It was rather shocking to learn that in the twilight of his life he had to be cared for by a poor family in Thane, Maharashtra. It is understood that his wife and son had filed a suit against him. We all stand humbled before the genius of Nayyarsaab and pray to the Almighty that his oul may rest in peace. Adieu Nayyarsaab!

Everlasting classical old songs

2007-01-18T03:37:00.000-08:00

Why the old songs/compositions are everlasting, I realized when my 7 year old daughter took a fancy to the song "Laaga chunari main daag", sung by Mana Dey from the film - Dil hi to hai. It so happened that I selected this particular song for singing in our annual college gathering. When I first switched on the CD player and the opening bars were played, my daughter wrinkled her nose in disgust at my selection. She probably expected me to sing some of those God awful "Reshammiyasque" songs. However, my daughter is a keen listener and was playing nearby in the adjacent room, when the famous Taraana at the end began. Now my daughter is undergoing training for Bharatnatyam dance and therefore just could'nt resist the furious Teen taal and came into the room and started dancing wildly to the rhythm. As soon as the song ended, she then immediately went away and I too did not reflect too much over the incident.

Next day when I started to practice the song along with the CD track, she was present in the room with me and somehow sat through the entire song. Thus ended the 2nd day. Now on the 3rd day, my daughter paid more attention and began to sing snatches of the song along with me. This forced me to pay more attention to the entire scenario as 7 year old kids showing undue attention to a 50 year old song is quite unusul to me at least! After that day, there was no stopping her and she used to pester me to practice the song every day, and was the one, most wildly cheering me during the entire performance on the college day. Things have come to such a pass now, that she has forced me to download the entire song into my Cell's mp3 player and she's listening to it whenever we go out on a drive (I don't have a cassette/CD deck in my car).

There's more to come ! After having once "tasted" this song, my daughter's now turned her attention to Manna Dey's another classic(al) "Jhanak jhanak tori baaje paayaliya", from the film - Mere huzoor!!! This song too has been downloaded into my cell's mp3 player and I'm being forced to listen to the song as well as her vocal exertions along with it. Not that I am complaining !!!

Lata Mangeshkar v/s Asha Bhosale - is it fair to compare ?

2006-12-25T02:02:00.000-08:00

At last I have mustered enough courage to post a topic close to my nheart albiet controversial. The topic is - Amongst the mangeshkar siblings, who's better, Lata Mangeshkar or Asha Bhosale ? I am more in favour of Asha Bhosale, although I will say that it is unfair to compare them thus. My twin criteria for arriving at the strange conclusion is VERSATILITY & RANGE OF VOICE. While Lata has a rather high pitched voice, very sweet and most difficult to attain of course, yet Asha scores over her elder sister because of her range and versatility. Asha has sung songs effortlessly in all the octaves, while Lata has restricted herself to the medium and high octaves. Can you imagine Lata singing "Dum maaro dum" or "Dil cheez kya hai" ? Same cannot be said about Asha. She has sung fair number of songs in the highest octave. Sample her "Yeh kya jagah hai doston", and "Sun le pukaar, aaee aansuon ki dhaar leke, aaj tere dwaar" just to name a few. I use the same criteria to rate Begum Parveen Sulatana much above Vidushi Kishori Amonkar. Coming to the topic, Asha has sung a greater varieties of songs including devotional, Ghazals, light classicals, Pop etc. Readers are invited to comment upon the topic ! The field is open to all. Any error of omission frommy side is regretted.

A tribut to Mohammed Rafi on his 82nd birthday

2006-12-24T19:50:00.000-08:00

Yesterday 24th December was the legendary singer Md.Rafi's 82nd birthday. What else can I add more about this all time great singer than what has already been penned about him? To me he was THE most versatile singer of all times having sung in all the genres, be it Classical, Devotional, Light romantic, Soulful, Sad, chirpy yuppee, you name it he had it ! Only Kishore kumar to some extent came a distant second in versatility.

Rafisaab was the most humble and down to earth human being one could imagine in the otherwise big, bad world of Bollywood. He was such a simpleton that he NEVER took any royalty of any of his recorded songs. He only took an upfront payment and that was it ! Due to this, he had a tiff with Lata Mangeshkar and they did not sing together for a couple of years in the 1960's. Compare this with today's upstarts like Himesh Reshammiyas who claim that they are "Blessed" by Goddess Saraswathi and claim to "compose" in all genres !

Anyway, this post's about Rafisaab and his genius. He started his career with Shyam Sunder in the early 1940's and went on to sing under every leading Music Director like Ghulam Mohammed, Naushaad, Anil Biswas, Husnlal -Bhagatram, S-J, SD, Roshan, Madan Mohan, Chitragupta,C.Ramchandra, K-A, RD , L-P et al.

There's a marvellous post by Dr Narasinha Kamath posted in http://dr-narasinha-kamath.sulekha.com. All those interested in discussing about Old Film songs can visit his blog. He's also posted interesting tit bits about Rafisaab in http://dr-narasinha-kamath.sulekha.com/blog/post/2006/12/immortal-mohd-rafi.htm .

My personal Rafi Favourites include -
1. Koi saagr dil ko behlaata naheen - Dil diya dard liya.
2. Madhuban main raadhika - Kohenoor.
3. Naachey man mora - Meri saoorat teri aankhen.
4. Raadhike toone bansuri churaaee - Badi behen.
5. Nazar na lag jaaye - Night in london.
6. Na jaa kaheen ab na jaa -Mere humdum mere dost.
7. Teri aankhon ke siva - Chiraag.
8. Yeh chand sa roshan chehra - Kashmir ki kali.
9. Chahe koi mujhe jungalee kahe - Junglee.
10. Hum bekhudi main tumko pukaare - Hum Dono.
11. Pukaarta chalaa hoon main - Mere sanam.
12. Kar chale hum fida jaano tan saathiyon - Haqeeqat.
13. Man tarapat hari darasan ko aaj - Baiju baawra.
14. Maniey poochhaa chaand se ki dekha hai kaheen - Abdullah
15. Dard e dil - Karz.
The list is endless and I can fill pages but I got to stop here. In the end, Rafisaab was the last of the Moghuls who ruled the world of playback singing. After him we got to hear only clones !

Laaga chunari main daag..........

2006-11-20T02:03:00.000-08:00

This evergreen song from the film "Dil hi to hai", composed by Late Roshan and sung by Manna Dey remains a truly "Classical" composition in the sense that it more or less retains the essence of the Raaga (Sindhu Bhairavi) like "Madhuban main raadhika naachey" (Raag Hameer). Of course we do have purer Classical compositions like "Aaja gaavata mana mero" in Desi from "Baiju baawra", but most of these were sung by acclaimed masters like Bade Ghulam Ali Khan, Amir Khan or D V Paluskar etc. However in case of "Laaga chunari main daag" or "Madhuban main ...", they were sung by playback singers.

I don't know what it is that compels me to listen to this song innumerable times. I realized its timelessness when I started to practise singing this song for the annual cultural event of the college where I teach. In order to get into the song I must have listened to the song at least 500 times, but never did I feel bored ! In fact, each time I listened or sang with it, it revealed new facets to me. Here. I must add that I have not received any formal training in classical music. Yet it was my wish from the last 10 years to be able to sing this particular song on stage. This wish was fulfilled yesterday night when I finally sang it front of an audince of about 400 people ! I cannot say whether I sang it competently, but the applause was heartening, even from the younger section of the crowd, who had just had a heavy dose of modern music.

A list of Indian classical Raagas in Hindi film songs - 4

2006-11-16T07:41:00.000-08:00

Downloaded a list of hindi film songs based on classical ragas, from www.asavari.org . Great work done there!
60. Maaru Bihaag - Tum toh pyaar ho, O sajanaa - SEHERA
- Bada dukh deena, tere lakhan ne - RAAM LAKHAN
- Matvaalee naar thumak thumak chalee jaaye - Film ?
61. Maarwaa - Paayaliya bavri - SAAZ AUR AWAAZ
62 Megh Malhaar - Dukh bharey din beetey re bhaiiya - MOTHER INDIA
- Ghanana ghanana ghan ghir aaye badiraa - LAGAAN
- Kaare kaare badira - MERA NAAM JOKER
63 Megh - Ghanana ghanana - BAIJU BAWRA
64 Miyaan ki Malhaar - Bole re papiharaa - GUDDI
- Bhay bhanjana - BASANT BAHAAR
- Lapak jhapak too aare badarawaa - BOOT POLISH
65. Multaani - Dayaa kar e giridhar gopal - SHABAAB
66. Nand - Tu jahaan jahaan chalegaa - MERA SAYAA
67. Pahaadi - Husn pahaadon ka, O sahibaa - RAAM TERI GANGA MAILEE HO GAYEE
- Karvatein badaltey rahein aadhee raat hum - AAP KI KASAM
- Dil pukarey aare aa re aa re - JEWEl THIEF
- Aaja re, aajare O mere dilbar aaja - NOORI
- Neela aasman so gaya - SILSILA
- Tere mere hothon pe meethey meethey geet mitwaa - CHANDNI
- Kaisey jeeyoonga main, agar too na banee meri saahiban - SAAHIBAAN
- Jo waada kiyaa woh nobhaana padega - TAJ MAHAL
- Rahein na rahein hum - MAMTAA
68. Palaasi - Kabhi tanhayeeyon main yun - HUMAARI YAAD AAYEGI
- Gori tera gaon badaa pyara - CHITCHOR
69. Patdeep - Megha chhaaye aadhee raat - SHARMEELEE
70. Piloo - Oh re taal miley nadee ke jal main - ANOKHI RAAT
- Maine shaayad tumhe, pehele bhee kaheen dekhaa hai -BARSAAT KI RAAT
- Kaalee ghataa chhaaye mora jiya trasaaye - SUJAATA
71. Pooriya Dhanashree - Hae raama yeh kyaa hua - RANGEELA
- Rut aagayee re - EARTH 1947
- Rang aur noor ki baarat kisey pesh karoon - GHAZAL
72. Raageshree - Mohabbat aisee dhadkan hai - ANAARKALEE
73. Shankaraa - Bole bole kaanhaa, challa chhaliyaa - CHHALIYAA
74. Shiva ranjini - Jaane kahaan gaye woh din - MERA NAAM JOKER
- Mere naina saawan bhaadon - MEHBOOBA
- kaheen deep jaley kaheen dil - BEES SAAL BAAD
- O mere sanam, O mere sanam - SANGAM
- tere mere beech mey - EK DOOJE KEY LIYE
75. Sohani - Kuhoo kuhoo boley re koyaliyaa - SWARNA SUNDAREE
- Prema jogana bana key - MUGHAL - E - AAZAM
76. Sindhu Bhairavi - Laaga chunari main daag - DIL HI TOH HAI
- Ajahuna aaye baalma, saawan beeta jaye - SAANJH AUR SAVERAA
- Phul geindava na maaro, lagat karejawa main chot - DOOJ KA CHAAND
77.Sur Malhaar - Dar laagey garaje badarawaa -RAAM RAAJYA
78. Tilang -Itnaa toh yaad hai mujhey - MEHEBOOB KI MEHANDI
- Chhup gaye sarey nazarey - DO RAASTE
79. Tilak Kaamod - Tumhaare bin jee naa lage ghar main - BHOOMIKA
80. Todi - Duniya naa bhaaye mohe ab toh uthaa le - BAIJU BAAWRA
81. Yaman - Aansoo bharee hai ye jeevan ki raahein - Parvarish
- Jab deep jae aanaa - CHITCHOR
- Chaand phir niklaa - PAYING GUEST
- Jiyaa le gayo ji mora saanwariya - ANPADH
- Re man sur main gaao - LAL PATTHAR
- Jaare badira bairi jaa - BAHAANA
- Chandan sa badan - SARASWATI CHANDRA
- Bhoolee huee yaadon, mujhey itna na sataao - SANJOG (old)
- Saarangaa teri yaad main - TITLE SONG
- Chhupaa lo yoon dil main pyaar meraa - MAMTA
- Ehsaan tera hoga mujhpar - JUNGLE
- Ghar sey nikaltey hi - PAP KEHTE HAIN
- Aaye ho meri zindagi main tum bahaar ban kar - RAAJA HINDUSTAANI

A list of Indian classical Raagas in Hindi film songs - 3

2006-11-11T22:30:00.000-08:00

In continuation with the list of hindi film songs which have been based on classical ragas :
46. Kalavati - Koi saagar dil ko behelaata naheen - DIL DIYA DARD LIYA.
- Sanam too bewafaa ke naam se mashahoor ho jaaye - KHILONA.
- Subah aur shaam, kaam hi kaam - ULJHAN
- Hae agar dushman jamaana - HUM KISSI SEY KUM NAHEEN
47. Kalyaan - Rasika balamaa - CHORI CHORI
48. Khamaaj - Aaya kahaan sey ghanashyaam - BUDHDHA MIL GAYAA
- Badaa natkhat hae re kishan kanhaiyya - AMAR PREM
- Nazar laagi raaja tore bangale pey -KAALA PAANI
49. Kaamod - Jao re jogi tum jao re - AAMRAPAALI
- Eree, jaane na doongee - CHITRALEKHA
50. Kedar - Humko man ki shakti dena - GUDDI
- Aap yoon hi agar humsey milte rahey - EK MUSAAFIR EK HASEENA
- Pal do pal kaa saath humaara - THE BURNING TRAIN
51. Kirwaani - Mera dil ye pukaare aajaa - NAAGIN (old)
- Main pyaar kaa raahee hoon - EK MUSAAFIR EK HASEENA
- Meri bheegi bheegi see - ANAMIKA
- Beqaraar dil too gaaye jaa - DOOR KAA RAAHEE
52. Kaushi Kaanada - Ab to maadhava mohey ubaar - Film ?
53. Lalit - Ek shehenshah ne banwaa ke haseen taj mahal - LEADER
- Preetam darasa dikhao - CHAACHA ZINDABAAD
- Too hai mera prem devataa - KALPANA
54. Madhuvanti - Rasme ulfat ko nibhaayen toh nibhaayen kaisey - DIL KI RAAHEN
55. Madhumaas Saarang - Kahaan sey aaye badira - CHASHME BADDOOR
- Aa laut ke aaja mere meet - RAANI ROOPMATI
56. Manj Khamaaj - Kaisey dina beetey - ANURAADHA
57. Malkauns - Mana tarapata hari darasan ko aaj - BAIJU BAAWRA
- Aadhha hai chandrama raat aadhee - NAVRANG
- Ankhiyana sang ankhiyaan laagi - BADA AADMI
58. Malgunji - Nain sey nain naheen milao - JHANAK JHANAK PAAYAL BAAJE
- Ghar aaja ghir aayee badira - CHHOTE NAWAAB
- Unko ye shikaayat hai ke hum kuchh naheen kehate - ADAALAT
- Naa laagena, tere bina mora kaheen jiya - AANAND
59. Maand - Too chanda, main chaandni - RESHMA AUR SHERA
- Morani, baagan main dole aadhi raat main - LAMHE
- Kesariya baalama - LEKIN

A list of Indian classical Raagas in Hindi film songs - 2

2006-11-09T07:25:00.000-08:00

It isn't a researched material of my own, but found it in some site while surfing.Requesting interested persons to correct / update the existing information.
25. Darbaari - Yeh hawaa yeh raat yeh chaandni - SANGDIL
26. Darbaari Kaanada - Jhanak jhanak tori baaje paayaliya -MERE HUZOOR
- Raadhike toone bansuri churaayee - BETI BETE
- Hum tujhse mohabbat karkey sanam - AAWAARA
- Koi matwaala aayaa mere dwaare - LOVE IN TOKYO
- Yaad main teri jaag jaag ke hum - MERE MEHEBOOB
- O duniya ke rakhwaale sun dard bhare - BAIJU BAAWRA
- Too pyaar ka saagar hai - SEEMA
- Tora man darpan kehelaaye - KAAJAL
- Mujhe tumsey kuchhbhi na chaahiye - KANHAIYYA
- Rahaa gardishon main hurdum - DO BADAN
- Teri duniya main dil lagta naheen - BAAWRE NAIN
- Ke paga ghungaroo baandh, meera naachee thhee - NAMAK HALAAL
- Agar mujhsey mohabbat hai - AAP KI PARCHHAYEEYAAN
- Shaayaraana si hai zindagi - PHIR TERI KAHAANI YAAD AAYEE
- Main tere dar pe aayaa hoon - LAILA MAJNOO
27. Des - Aji roothkar ab kahaan jaayiyega - AARZOO
- Vande maataram - AANAND MATH
- Door koi gaaye, dhun ye sunaaye - BAIJU BAAWRA
- Ye jo des hai tera, swades hai tera - SWADES
28. Desi - Aaja gaawata man mero jhhoomake - BAIJU BAAWARA
29. Devgandhaar - Jab dil ko sataaye ghum - Film ?
30. Durga - Geet gaaya paththaroney - TITLE SONG
31. Dhaani - Prabhu tero naam,jo dhhaye fal paaye - HUM DONO
32. Gaara - Mohe panghat pe nandlal chhed gayo re - MUGHAL - E - AAZAM
- Thumaka chalata Ramchandra - TRADITIONAL BHAJAN
33. Gaud Malhaar - Garajata barasata sawana aayo re - BARSAAT KI RAAT (old)
34. Gaud Saarang - Allah tero naam - HUM DONO
35. Gujari Todi - Ek thha bachpan - AASHIRWAD
- Jaa Jaa re pathhikwaa - LEKIN
36. Hameer - Madhuban main raadhika naache re - KOHENOOR
37. Hamsadhwani - Jaa tosey naheen boloon kanhaiyya - PARIVAAR
38. Hemant - Tum bin jeevan kaise beeta - BAAWARCHI
39. Jaijaiwanti - Mana mohana bade jhhoothey - SEMA
- Bairana ho gayee re - DEKH KABEERA ROYA
40. Jhinjhoti - Tum mujhe yoon bhulaa na paaoge - PAGLAA KAHEEN KA
- Chhup gayaa koi re, door se pukarke - CHAMPAAKALI
- Teri aankhon ke siwa duniya main rakhaa kya hai - CHIRAAG
41. Jeevanguri - Pal pal hai bhaari ab aao raghurai - SWADES
42. Jogkauns - Baaje re paayela baaje - Film ?
43. Jogiya - Raat bhar ka hai mehmaa andhera - SONE KI CHIDIYA
- Dil ek mandir hai - TITLE SONG
- Keh do koi naa kare yahaan pyaar - GOONJ UTHEE SHEHANAI
44. Jaunpuri - Meri yaad main tum naa aansoo bahaana - MADHOSH
- Jaayen to jaayen kahaan - TAXI DRIVER
45. Kaafi - Biraj main holi khelata nandlaal - GODAAN

A list of Indian classical Raagas in Hindi film songs - 1

2006-11-08T03:49:00.000-08:00

This is not my own researched material, but got the list from some obscure site while surfing. Requesting interested persons to make corrections or update the existing information.
1. Abhogi Kaanada - Jiya laage kya karoon sajana - Film ?
- Na jaiyo re suatan ghar sainya -Film ?
2. Adaana - Manmohan man main ho tumhee - KAISEY KAHOON
- Jhanak jhanak tori paayal baaje - TITLE SONG
3. Ahir Bhairav - Poochcho na kaisey manie rain bitayee - MERI SOORAT TERI AANKHEN
- Albela sajan aayo ree - HUM DIL DE CHUKEY SANAM
- Raam teri ganga mailee ho gayee - TITLE SONG
4. Alahiya Bilawal - Bhor aayee gayaa andhiyaara - BAAWARCHI
5. Aasaawari - Chale jaana naheen nain milaakey - BADI BEHEN
6. Bageshree - Raadha na bole, na bole, na bole re - AAZAD
7. Bahaar - Sakal ban gagan pawan chalat purvayee - MAMATA
- Chham chham baaje re paayiliy - TALAASH
8. Bairaagi - Main ek raaja hoon - UPAHAAR
9. Baarwaa - Khai hai re humne kasam sang rehene ki - TALAASH
10. Basant - Ketaki, gulaab, juhi, champak ban phooley - BASANT BAHAAR
11. Basant Bahaar - Sur na saje kya gaoon main - BASANT BAHAAR
12. Bibhhaash - Saanjh dhhaley gagan taley - UTSAV
13. Bhairav - Jaago mohan pyaare - JAAGTE RAHO
- Satyam Shivam Sundaram - TITLE SONG
- Mohe bhool gaye saanwariya - BAIJU BAAWRA
14. Bhairavi - Too ganga ki mauj main jamuna ki dhaara - BAIJU BAAWRA
- Tumhen aur doon kya main dil ke siwa - AYEE MILAN KI BELA
- Do hunson ka joda bichhad gayo re - GANGA JAMUNA
- Baabul mora, naihar chhootohi jaye - STREET SINGER
- Naachey man mora magan tikita tiki tiki - MERI SOORAT TERI AANKHEN
- Meethhey bol bole - KINAARA
- Suno chhoti si gudiya ki lumbee kahaani - SEEMA
- Kaa karoon sajani, aaye na baalam - SWAAMI
- Hunsataa hua noorani cheheraa - PAARAS MANI
- Humein tumsey pyaar kitna - KUDRAT
- Phul gaindava naa maaro - DOOJ KAA CHAAND
15. Bhatiyaar - Ek ritu aaye, ek ritu jaaye - Film ?
16. Bhimpalasi - Nainon main badira chhaaye - MERA SAAYA
17. Bhoopali - Jyoti kalash chhalake - BHAABHI KI CHOODIYAAN
- Hum tumsey naa kuchh keh paaye - ZIDDI (New)
- Punkh hoti toh ud aatee re - SEHRA
- Jiya dhhadak dhhadak - KALYUG (New)
19. Bihaag - Tere sur aur mere geet - GOONJ UTHHEE SHEHANAI
- Koi gaata main so jaata - AALAAP
- Beeti naa bitaayee raina - PARICHAY
20. Bilaaskhaani Todi - Jhhoothe naina boley - LEKIN
21. Basant Mukhadi - O basanti pawan paagal - JIS DESH MAIN GANGA BEHATI HAI
22. Chandrakauns - San sanana san, san sanana san - ASOKA
23. Chhaaya Nat - Hum bekhudi main tumko pukaare chaley gaye - KAALA PAANI
- Tere naina talaash karey jise - TALAASH
24. Chaarukeshi - Bainyaa naa dhharo , O balama - DASTak

Parveen Sultana - Begum who rules the hearts of indian classical lovers!

2006-11-06T04:55:00.000-08:00

On the occassion of celeberations of 50 years of formation of the state of Madhya Pradesh, a concert was organized in which Pt Vishwajit Roychoudhary and Begum Parveen Sultana were invited to perform. The evening began with the sarod recital of Pt Roychoudhary. He gave a unique performance in the sense that for accompaniment, both tabla as well as Pakhawaj were used. This is unique for me at least, as Pakhawaj is used as an accompaniment primarily in the Dhrupad style of performance, while Tabla is used for the Hindustani or the Khayal style. The performance was blemishless and emhanced by the uniqueness of the accompaniment. This, the musician explained, was done to highlight the difference between the Dhrupad style of playing and the Hindustani style. The performance began with an Alaap and Jod set in Raga Nat Bihag and ended with a Mishra Bhairavi Dhun.

The piece de resistance was undoubtedly, Begum Sahiba. She commenced with a khayal in Raga Jog set in Jhap taal, then she sang a taraana in Hamsadhwani, a meera bhajan and ended with a Bhairavi Daadra. What strikes even a layman is her range. She flows effortlessely from the lowest octave to the highest. Being an exponent of the Kiraana Gharaana, her taans are as usual elaborate and intricate, yet soothing to the ears. She also is most down to earth and a humble human being. A few persons were standing inside the auditorium as all the seats were occupied. She invited them on to the stage to sit besides her so that they can enjoy the music better ! Then she asked one of the girls sitting besides her whether she was learning music. The girl replied in the negative. On which, Parveenji said "Acchha hai. Agar sab Taansen ban gaye to Kaansen kaun banega!!!" I wish Begum Parveen Sultaana good health so that she can regale us for many more years to come.

Music knows no barriers !

2006-10-08T08:07:00.000-07:00

Attended a musical evening organized to commemorate "Sharad Poornima" day before yesterday. It wasn't anything "Heavy" (Classical), but the usual Film songs based on the theme of "Chaand". I too sang an everlasting Mukesh number "Chaand aahein bharega, phool dil, thhaam lengey". But this post is not about my singing ability or rather the lack of it ! The show was started by a singer of the orchestra which was invited to provide the support to our over enthusiastic efforts. And what a blemishless performnce it was ! He rendered an evergreen Jagjit Singh ghazal "Kal chaudahveen ki raat thhi". With the full moon rising above the upper lake (Badi Jheel) of Bhopal and a gentle breeze blowing across the lawns (show was organized in a housing society facing the lake), we felt transported to another world. There could'nt have been a better start to the evening.

At the end of the rendition however, all of us got the shock of our lives when the compare announced that the singer cum keyboard artiste was in fact blind ! During the entire period before the show commenced, all of us had interacted with the entire group of the orchestra in order to rehearse our songs, but never did we get even a clue that the lead keyboard artiste was blind. He in fact was guiding the auxillary keyboard artiste regarding the change of beats, sound frequencies etc ! We all felt subdued in front of this man who had conquered all odds to pursue his hobby.

This brings me to the point which I always knew but never realized - that music is felt or experienced and not "Learnt". That is why in Indian music there is so little emphasis on the visual aspect. Of course I'm not talking about the crass Item numbers or the remixed fare that we are subjected to these days. This is the reason why we instantly close our eyes the moment we hear a soul stirring peice of music. Music therefore transcends all barriers and unites us with our true self. I am indeed grateful to the blind artiste (Mr.Ravi.Rao) who showed to me the pathway of appreciation of music in the fullest sense.

Adieu Naushad

2006-05-06T02:31:00.000-07:00

With the passing away of Naushad, Indian cinema has lost a music composer par excellance. He was a doyen of Indian film music, who was a perfectionist to the core. His compositions with few exceptions were simple and based on classical music. I have been a great fan of his, though I am relatively young to like his music! I can recall so many of his compositions now e.g Man tarapat hari darasan, O duniya ke rakhwale, Door koi gaaye (all from Baiju Baawra), Koi sagar dil ko behlata nahin (Dil diya dard diya), Madhuban main Radhika naache (Kohenoor), Prem jogan ban ke and Pyar kiya to darna kya (both from Magnum opus Mughale Azam). His zest for life was legendary. I had a great fortune to listen to him and interact with him in 1996 when he was a guest of honour in my Father's institution. I still recall his words regarding Indian classical music, "When we listen to western music, our body dances, while when we listen to Indian music, it is the soul which dances!" Even though he was rooted in clasical music, he was open to western orchestration also. In fact, Naushad was the first Indian music composer to use a 100 piece orchestra for the music of film "Aan". Salutations to you Naushadji! Your memory and your work shall remain forever in our hearts!

Return of classical melody in Hindi film music?

2006-02-13T01:11:00.000-08:00

Refreshingly, now days we find quite a few compositions in contemporary music especially, reflecting shades of Indian classical music. Take for example, Albela sajan ayo from "Hum dil de chuke sanam",based on Raag Ahir BHairav or Rang Deeni sung by Kailesh Kher which is definately based on Raag Darbari Kanada, or Jiya Dhadak Dhadak, sung by Rahat Fateh Ali Khan in "Kalyug" which is based on Raag Bhoopali. Is this to suggest that we are finally going back to our roots? Hardly, I would say. But there definately an attempt to re-explore the golden raagas.
This brings us to the next question - Why are the old songs everlasting? Why do they affect us like no other melodies do? The reason is, almost all if not all were based on classical music, which from times immemorial, have been created to appeal to a particular emotion in our mind.When that happens, we become one with the music. For example, Raag Lalit, a morning Raag, explores the mood of uncertainity about the coming dawn while Raag Marwa too similarly appeals to our sense of apprahension of approaching dusk. Thus if you happen to catch a few bars of "Ek shahenshah ne banwa ke haseen Tajmahal" (Raag Lalit) at its appropriate time, there's every possibility that you will experience the oneness with the music!

Harmony - lacking in Indian classical music ?

2005-11-21T22:59:00.000-08:00

It amazes me to learn about the interest of Westerners in Indian classical music. Not only is there interest, but also they are begining to understand it better than us! I came across a blog post by Rob http://robquick.blogspot.com. His post is mainly about the harmony that is present in western music, which is lacking in ours. The closest to harmony in our music is the Drone (Tanpura/Swarmandala etc) on which two notes, fifth apart are continuously played. Its on the background of these two notes that the melody or Raaga is expounded.

Yes, I accept that there's not too much harmony in Indian classical music. But then, our music has rhythm and melody which more than makes up for lack of harmony. Imagine, there are only 12 notes in the octave of western music, but 22 notes in ours! It is these micro notes that give our music its variety, richness and melody! In Western music, lot of stress is given on tonal clarity and harmony, which is produced by playing different notes simultaneously (Chords) many times on different instruments. On the contrary, Indian classical music is monophonic with the singer or the instrumentalist singing or playing the notes and other accompanists viz, percussionist, drone player only providing the rhythm and melody base respectively. Yet, inspite of it being monophonic, Indian classical music is much appreciated in the west. What is it that attracts them to it? Is it its inherent spiritualism, rhythm , melody, soothing effect or something else? I want to know the answers to it!

Hindi film music and classical music an intimate relationship

2005-10-13T00:10:00.000-07:00

Most, if not all of us Indians are deeply influenced by film music, hindi film music in particular. I shall limit my jottings to hindi film music as I am deeply influenced by it. In fact, my interest in classical music was awakened by hindi film music. It so transpired that about 20 years ago, when my mother was doing her “Riyaaz”, I was all of a sudden captivated by the notes she was singing. Till that time I was least interested in classical music, and more in sync with Pop, Disco etc. Its not that I suddenly wanted to take up classical music seriously from that moment onwards, but I found myself gravitating more towards classical music, initially in the form of listening Ghazals, later light classical and finally Pure classical. Thus I made hesitant attempts to understand and explore the depths of classical music. I began to sit with my mother during her training sessions with her Guruji, but here I was rudely awakened out of my illusions of understanding classical music. To my utter horror I discovered that music is not about nodding your heads in concerts and saying Wah, Wahs ! Its all about Audav sampoorna, Audav –Audav Raags, Vadi samvadi swaras, Aarohs awarohs and Vilambit & Drut khayals! All this was greek to me and I quailed at the thought of mastering all this in order to appreciate good music. Fate intervened here in the form of my Uncle Shri Narayan Pandit, a noted violinist himself, who had honed his craft with Late Pt Kumar Gandharv and who had also played in Music director duo Kalyanji Anandji’s troupe sometimes. .When he saw me struggling to grapple with technicalities of classical music, he first dissociated me from my mothers classes ! He asked whether I wanted to take up music seriously, since I had already enrolled for my basic Denistry course. I replied that I simply wished to be able to appreciate good music and its subtle nuances and also to be able to play a musical instrument. He then proceeded to teach me to play Harmonium sans the raagas etc. I was wonderstruck at this novel approach. I had been brought up in the belief that even to be able to play the national anthem on an instrument, one has to be proficient in classical music. Thus he disproved in 48 hours flat when I played our beloved anthem in front of my dumbstruck parents. After that he taught me to play several melodies (mostly hindi film songs!). In the meanwhile I used to pester him with queries regarding the finer aspect of music e.g.how is a raga classified as morning/night raga? Then he explained me about the emotional appeal of our music system which is entirely lacking in western music. I was surprised to know that a morning/night raga appeals to the emotions of a person at that particular time. To make things simpler, he gave an example of Raag Lalit, which is utilized beautifully by Naushad in composing “Ek shahenshah ne banwa ke haseen taj mahal” in film,Leader. More examples followed in which raaga based hindi songs were highlighted. After a few months of such innovative tutelage, I began to recognize the basic raagas by associating them with hindi songs. Thus I could identify Malkauns by “Man tarapat hari darasan……”, Sindhu Bhairavi by “Laaga chunari main daag”, Ahir Bhairav by “Poocho na kaise maine raat bitayee etc ! I still cannot differentiate between an Audav sampoorna raga and an Audav-Audav raga, but that hasn’t stopped me in any way in enjoying the beauty of classical music. I regularly attend concerts and listen to classical music almost everyday either in its pure form or its derivatives which may be thumris, tappas, ghazals or even film songs !

Inviting all classical music lovers

2005-10-05T02:12:00.000-07:00

Hi there Folks !
Inviting all Indian classical music lovers to share their news, views and thoughts on what else - Indian classical music. Music is the food for soul is an oft repeated Cliche. Its not without reason that Indian classical music has been claimed to be probably the richest in its variety and in longevity. Our music is timeless and all encompassing in its appeal, whether its Hindustani or Carnatic classical. No part of our life is untouched by our music. In fact our music is inspired from the nature itself. I personally am a hindustani classical music afficionado. So, folks, get going and post your views on this blog. LET ME MAKE IT AMPLY CLEAR AT THE OUTSET THAT THIS BLOG IS NOT AGAINST OTHER FORMS OF MUSIC APART FROM CLASSICAL. OUR CULTURE HAS TAUGHT US TO RESPECT OTHERS CHOICE ALSO.