Amar Nath - Rain Melody (1995)

01 - Raga Megha
02 - Raga Megha

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L. Shankar - Raga Aberi

L. Shankar
Raga Aberi
Music Of The World, 1995

TRACK LISTINGS
1.-8. Ragam AberiL.

Shankar - violin
Zakir Hussain - tabla
T.H. "Vikku" Vinayakaram – ghatam

The South Indian violin virtuoso, L. Shankar, presents a dazzling rendition of a traditional rag in untraditional terms. He plays in a rhythm cycle of 4-3/4, beats, difficult enough to maintain, let alone be as musically creative as these three. The energy is consistently high, and there are a lot of solos by each musician, as well as deftly coordinated unison passages.

Lakshminarayanan Shankar (born April 26, 1950), also known as L. Shankar, Shankar or Shenkar, is a Tamil Indian violinist, vocalist and composer.L. Shankar was born in Madras, Tamil Nadu. Growing up in Jaffna, in Sri Lanka (then called Ceylon), where his father V. Lakshminarayan was a professor at the Jaffna College of Music, Shankar was exposed to Carnatic music from an early age. His father was an esteemed violinist, his mother L. Seethalakshmi played the veena and all his five older siblings were also proficient in music. The most well known of his brothers is another acclaimed and renowned violinist - L. Subramaniam, who has recorded a number of records himself.Shankar began singing at the age of two, playing violin at the age of five, and learning to play drums at seven. [1] At the age of seven L. Shankar gave his first public concert, at the Nallur Kandaswamy temple. He gained considerable reputation in his early youth as an accompanist to some of the most eminent names in Carnatic music such as Semmangudi Srinivasa Iyer, Chembai Vaithyanatha Baghavatar, Palghat Mani Iyer and Alathur Srinivasa lyer. Following the ethnic riots of 1953 his family moved back to India.After obtaining a Bachelor's degree in Physics in India, Shankar moved to America in 1969 and earned a doctorate in ethnomusicology at Wesleyan University. Here he met jazz musicians Ornette Coleman, Jimmy Garrison, and John McLaughlin while working as a teaching assistant and concert master of the University Chamber Orchestra. In 1975 Shankar and McLaughlin founded Shakti, a pioneering, groundbreaking and highly influential east-meets-west collaborative, fluid sound that managed to successfully combine seemingly incompatible traditions. His first solo album, Touch Me There, was produced by Frank Zappa in 1979.[2] Shankar founded his own band - The Epidemics, in 1982, with the composer Caroline. He released three albums with the band.During the 1980s, Shankar recorded periodically as a leader, doing both jazz-based material and Indian classical music. His 1980 release of the album Who's To Know on ECM introduced the unique sound of his own invention, the ten-string, stereophonic double violin. This instrument, designed by Shankar and built by noted guitar maker Ken Parker, covers the entire orchestral range, including double bass, cello, viola and violin. He has recently developed a newer version of his instrument which is much lighter than the original.[2]1990 saw Shankar co-producing a one hour film directed by H. O. Nazareth, which went on to be nominated for Best Documentary film at the Cannes film festival. Shankar worked on the score of the film The Last Temptation of Christ (1988), with his music ending up on both albums of the score - Passion: Music for The Last Temptation of Christ and Passion - Sources. He won a Grammy for his work on the latter in 1994. Shankar has performed on several of Peter Gabriel's records such as So and Us. Since 1996, Shankar has toured internationally with fellow-violinist (and his niece[3]) Gingger as "Shankar & Gingger", garnering critical acclaim and popularity. The two performed at events including the Concert for Global Harmony and Nelson Mandela's 80th birthday celebrations. Shankar & Gingger released their first DVD One in a Million in 2001. After a critically successful tour of North America, the DVD went to number 1 on the Neilsen Soundscan DVD charts and stayed there for four weeks.[2] In 2004, Shankar composed and performed on the score for the film The Passion of the Christ (2004).Shankar has played with some of the greatest musical contemporaries of his time, including Lou Reed, Echo and the Bunnymen, Talking Heads, Frank Zappa, Peter Gabriel, Elton John, Eric Clapton, Phil Collins, Jonathan Davis, Bruce Springsteen, Van Morrison, Stewart Copeland, Yoko Ono, A. R. Rahman, John Waite, Steve Vai, Ginger Baker, Toto, Nils Lofgren, Mark O'Connor, and Sting.[2] Shankar has been praised for his ability to mix Eastern and Western influences, assimilating Carnatic music with pop, rock, jazz and contemporary world music. He admits "Ultimately, I would like to bring the East and West together. That, I think, is my role," he says.More recently, Shankar has used a new stage name – Shenkar - and has created recordings under this name. In 2006 - 2007, Shenkar provided the vocals for the opening credit music and other themes for the hit TV series Heroes.for L. Shankar also see http://www.hinduismtoday.com/
and http://worldmusiccentral.org/

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Homayun Sakhi - The Art of the Afghan Rubab.

Homayun Sakhi
The Art of the Afghan Rubab.
Music of Central Asia Vol.3
Smithsonian Folkways SFW CD 40522, 2006

TRACK LISTINGS
1. Raga Madhuvanti
2. Raga Yaman
3. Kataghani

Homayun Sakhi - rubab,vocals
Ghulam Bahauddin - tanbur
Rahim Takhari - ghijak, dutar,
vocalsMuhammad Wali Nabigul - tabla

From Kabul to California, Homayun Sakhi is admired as the outstanding Afghan rubâb player of his generation, a charismatic virtuoso who has pushed the limits of his instrument. With tabla player Taryalai Hashimi, Sakhi plays music that is uniquely Afghan, yet resonates strongly with the spirit of Indian raga.

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Kala Ramnath - Touching Air

Kala Ramnath Touching Air

Sense World Music SWMCD 008, 2002



TRACK LISTINGS

Raga Nat Narayan
1. Alap
2. Vilambit Ektal I
3. Vilambit Ektal II
4. Jhaptal I
5. Jhaptal II
6. Drut Tintal

Kala Ramnath - violin

Vijay Ghate - tabla


At a young age, Kala Ramnath has already established herself as one of the most outstanding violinists of India. She comes from a distinguished musical family that has produced generations of well-known violinists. The credit for grooming most of them goes to Vidwan Narayana Iyer, who has uniquely trained his students in both the North and South Indian musical forms. From the thirteenth century onwards, India has developed two distinct musical systems. The Karnatic music of the South lays greater emphasis on fixed compositions. It has remained largely unchanged for hundreds of years and has maintained a close connection with music of the temples. The Hindustani music of North India places more stress on improvisation and virtuosity. It has been subject to external influences, most notably the Moghul Invaders.In spite of its ability to reproduce every shade and nuance of vocal music, the violin has very few outstanding exponents in the North. On the contrary, Karnatic music boasts a long list of virtuoso violinists, who continue to enjoy sustained popularity in the South.Kala Ramnath has based her solo career on the expansive style of North Indian music. More specifically, she plays in the Hindustani vocal style of Khyal, which out of all vocal genres allows its performers the greatest opportunity to display the depth and breadth of their musical knowledge and skill. Her performances demonstrate an impressive combination of technical excellence and a deep emotional quality imbibed from her distinguished guru, Pandit Jasraj.In this live Saptak performance, Kala Ramnath presents a rarely heard midnight raag, created by her guru, Pandit Jasraj. Raag Nat Narayan is a combination of two older established raags Nat and Narayani, but contains shades of other popular raags like Bilawal and Jhinjoti. In a typical 'vocal' approach, she gently unfolds the raag within a slow rhythmic framework of twelve beats (ektaal). Her skilfully measured expansion of the raag is both lyrical and introspective; the pace of the rhythm gives us opportunity to fully appreciate the subtlest glides and graces that seamlessly connect her notes.Vijay Ghate provides accompaniment on the tabla,with artistic empathy. Throughout the recital, his playing responds sensitively to the musical intention of the performer.Kala Ramnath follows her initial slow exposition of the raag with two further compositions, the second of which is played in 'tintaal', a lively sixteen beat rhythmic cycle. A series of intricate rhythmic syncopations demonstrate the violinist's confident grip over technique, leading the performance to an exhilarating end.


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Kala Ramnath - Kala

Kala Ramnath
Kala
Sense World Music SWMCD 038, 2005



TRACK LISTINGS
1. Raga Jogkauns - Gat, Vilambit Ektal 28:29
2. Raga Jogkauns - Gat, Madhyalay Ada Chautal 10:33
3. Raga Jogkauns - Tarana, Drut Ektal 6:13
4. Raga Bhatiyar - Gat, Madhyalay Tintal 15:14
5. Raga Bhatiyar - Gat, Drut Ektal 5:07


Young Maestro KALA RAMNATH, the contemporary torch bearer of the Mewati Gharana, stands today amongst the most outstanding instrumental musicians in the North Indian classical genre. Born into a family of musical talent, Kala began playing the violin at the tender age of three under the tutelage of her grandfather Vidwan Narayan Iyer. Simultaneously she received training from her aunt Dr. N. Rajam. For the past eleven years she has put herself under the training of Mewati vocal maestro, Pandit Jasraj. This has brought a rare vocal emotionalism to her art.Kala's violin playing is characterized by an immaculate bowing and fingering technique, command over all aspects of laya, richness and clarity in sur. All this innate artistry and technical brilliance combined with a rare and exquisite emotional quality are the hallmarks of the style. She has completely revolutionized the technique of playing the violin by taking this instrument so close to vocal music that today her violin is called "the singing violin".Kala has performed at all major music festivals in India, such as the Dover Lane Music Conference and others.In 1984, she won the first prize in the prestigious AIR music competition. In 1988, she became the first ever-Hindustani musician and violinist to record for CBS India Ltd. Besides being a brilliant and charismatic musician; Kala has also an outstanding academic record. A University first in her graduation and post graduation, she won the junior and senior government scholarships in the year 1979 and 1984 respectively. She is also an A-grade artist in Radio and Television.KALA has won the acclaim of discerning audiences and critics worldwide. She has extensively toured the US, Canada, UK, Europe, Russia, Australia, Africa, Middle East, Mauritius, Nepal, Bangladesh etc. Her lecture demonstrations and workshops in Music have been highly appreciated in these countries. She is the principal of the Pandit Jasraj School of Music Foundation in Tampa, Florida, Atlanta, Georgia and Los-Angeles, California. She is also a guest professor at the Sangit Academy, Brussels and Neufchâteau in Belgium.Exactly what happened when the violin fell into the hands of Indian musicians is a story that many of Jazzwise's readers will think they are familiar with, through violinists L. Subramaniam and his brother L.Shankar. As ever, a little knowledge is a dangerous thing, for they represent but part of the tale. What they represent is what happened when the violin fell into South Indian hands. Kala Ramnath represents what happened when one multi-minded man called A. Narayana Iyer decided to steer two branches of his family in different directions, in order that they would not compete with each other. His son T.N. Krishnan took the southern path; his daughter N. Rajam the Northern one. Rajam's niece, Kala, follows the Northern tradition. If you have never heard violin played in the Northern Indian style, do yourself a favour and try Kala out. Her repertoire here comprises 'Jogkauns' played as three original compositions in, respectively, a slow, medium and fasttempo. A 10-minute 'Bhatiyar' concludes the proceedings. If Mozart had been transported to the South Asian subcontinent this is what he and improvised Western classical music might have sounded like.The comparison is not thrown in to befuddle or impress. Kala Ramnath is a musician of giant-like qualities. - Ken Hunt


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Debu Chaudhuri - Desh

Debu Chaudhuri Raga Desh

India Archives Music IAM 1002, 1989


TRACK LISTINGS
1. Desh - Alap & Jor
2. Desh - Vilambit & Drut Gat, Tintal

Devabrata "Debu" Chaudhuri - sitar
Shafaat Ahmed Khan - tabla


Pandit Devabrata (Debu) Chaudhuri today is the foremost exponent of the Senia gharana. Initially trained under the late Panchu Gopal Datta, he trained for a fruitful 38 years under Sangeet Acharya Ustad Mushtaq Ali Khan, Sitar Sudhakar of the Senia gharana. His romance with the sitar started when he was all of 4 years old, he made his public debut at the age of 12 and his first broadcast for All India Radio was in the year 1948.Debu Chaudhuri is a man of many talents. He is India`s foremost sitar maestro, respected teacher and guru, composer of numerous mellifluous symphonies, creator of eight new ragas, author of three books and several monographs, eminent musicologist (successfully guiding 33 Ph. D. Scholars) and winner of numerous awards and honours. He has been conferred the prestigious Padma Bhushan, one of India`s highest civilian honours bestowed by the President of India and the most coveted Sangeet Natak Award for his invaluable contribution in the field of Indian classical music. He has also recorded many albums and cassettes with companies all over the world.In 1960, Debu Chaudhuri left Kolkata to join the newly established Department of Music at the University of Delhi in search of his mission to promote the purest traditional form of sitar playing being played by his revered Guruji, propagating its special techniques and quality not only in India, but all over the world. Here he taught for 40 years. His zeal for the propagation of Indian classical music has been boundless and he has delivered lectures at more than 130 Universities around the world, chaired various international seminars on music and has represented India at numerous cultural festivals.He has recently started a unique project to document rare instrumental compositions, which are being forgotten or overlooked by the present generation - a project so dear to his heart that his only ambition is to complete it during his lifetime. As the founder Chairperson of the Delhi University Culture council and as the former Dean and Head of the Faculty of Music and Fine Arts, Debu Chaudhuri`s contribution to the field of education places him on an exalted pedestal of respect in the domain of music all over the world. He enjoys wide popularity both as a Maestro of Sitar and as a learned teacher of music, a unique combination and achievement indeed. (ITC Sangeet Research Academy)Raga Desh is one Raga that I could recognize even before I knew anything about classical music, and I believe every Indian irrespective of familiarity with classical music will know it by it's sound. It is the Raga to which the National Song of India, "Vande Mataram" is set. It is an amazingly beautiful Raga, full of inspiring, uplifting sentiment and Shri Debu Chowdhuri does not disappoint with an exquisite Alaap. The Sitar that Debu Chowdhuri uses has a nice shimmering sound to it that sounds very nice as well.I very much like Panditji's performance of raag Desh.As one of the few well known sitar playing representatives of the Senia gharana, Pt. Debu Chaudhuri is an important musician. But he is also one of the best sitarists of the 20th. Century, in my opinion (along with Ravi Shankar, Vilayat Khan, Nikhil Banerjee, Budhaditya Mukherjee, Manilal Nag, Rais Khan, and perhaps Shahid Parvez).For more info on the artist see his website: http://www.debuchaudhuri.com/



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Kaushiki Chakrabarty - Pure

Kaushiki Chakrabarty Pure
Sense World Music
Sense047, 2005

TRACK LISTINGS
1. Raga Madhuvanti - Alap
2. Raga Madhuvanti - Vilambit Khayal 'Shyam bhaee, Ghanashyam nahi aye more dware' (Ektal)
3. Raga Madhuvanti - Drut Khayal 'Kahe maan karo sakhiri ab' (Tintal)
4. Raga Misra Mand - Thumri 'Morey Saiyan Bedardi' (Kehervatal)

Kaushiki Chakrabarty - Vocals
Yogesh Kaikini Samsi - Tabla
Ajoy Chakrabarty - Harmonium
Chiranjib Chakrabarty - Harmonium


"Kaushiki Chakrabarty is one of the very few classical vocalists who will make a mark in the 21st century...." This was the assessment made by Bhimsen Joshi, one of India's greatest classical vocalists of the modern era. The qualities which have given rise to this level of commendation were certainly evident in this captivating performance of Khayal singing given at the Queen's Theatre, Hornchurch, London on the 30th of August 2003. Born in 1980 in the campus of Sangeet Research Academy, Kolkata, Kaushiki Chakrabarty is now a scholar of this great centre of lndian Cultural learning. The gurus of the Academy repose a great hope in Kaushiki and have blessed her for a glorious musical future.Kaushiki's mother, Chandna Chakrabarty was her first guru noting that she could reproduce virtually any musical and rhythmic phrase when she was only two years old. Kaushiki then became a "ganda-bandh" shagird (disciple) of her father's guru, Jnan Prakash Ghosh, according to India's ancient system of guru-shishya parampara. On account of the old age of her guru and with his consent, she resumed her training under her father, Pandit Ajoy Chakrabarty. The guru-shishya system of teaching is the most intensive and effective route of musical learning in North Indian Classical music. It is the very soul of the oral tradition of India, and embodies the living and learning relationship between master and pupil. Evolving from the era of the great Indian seers, what the tradition signifies is the complete emotional, intellectual and spiritual surrender of the ardent shishya (trainee) to the guru (teacher). Kaushiki has already proved herself as a versatile artist. One of the central tenets of Kaushiki's music is voice culture. She doesn't like to be typecast into groves like classical or light musician, her flexible voice means that she is capable of adapting to any style. Kaushiki recently performed at Pandit Jasraj's celebration of his distinguished musical career in Kolkata. Jasrajji was so moved by her performance that he was prompted to make an announcement on stage that he found in Kaushiki the one who will keep the lamp burning as the worthiest successor of the classical vocal music tradition of India.Kaushiki began this concert performance with a khayal composition in Raga Madhuvanti, a raga with calming and peaceful qualities usually rendered in the late afternoon. Madhuvanti is a relatively new raga. Although it is not possible to determine the time of creation of most ragas, we can say that there are no traces of the existence of Madhuvanti earlier than 50 years. Khayal is the main Hindustani classical music genre. In Hindi, Khayal literally means imagination or thought, and its effectiveness depends very much on the singer's ability to improvise on the chosen raga, more so than the lyrical content of the text. She begins with a short alap, skilfully outlining characteristic phrases of the raga sung to the backdrop of the tanpura drone. Alap is followed by the first composition (track 2) 'Shyam bhaee, Ghanashyam nahi aye more dware' which is set to a slow rhythmic cycle of twelve beats (ektaal) played on tabla. The second composition (track 3) 'Kahe maan karo sakhiri ab' is sung in teentaal, a medium tempo rhythmic cycle of sixteen beats. Kaushiki concludes the performance with a devotional thumri 'Morey Saiyan Bedardi'. Thumri is a romantic classical form which often depicts the depth of love for Lord Krishna. Raga Mand is associated with the rich folk music of Rajasthan in India. Most all the musicians of India have depicted Mand in the light classical forms of music in their own way.In thumri, the singer is allowed to take a more flexible approach to the raga. Notes outside of the framework of Raga Mand are added with great effect, and for this reason it is considered as Misra (or mixed) Mand.For this recital Kaushiki was accompanied by tabla player, Yogesh Samsi, son of the renowned vocalist Dinkar Kaikini. Yogesh is a highly respected artist of the younger generation and one of the foremost disciples of the late tabla virtuoso Ustad Alla Rakha Khan. He is known in the world of Indian music, as one of the most sensitive accompanists, demonstrating both an understanding of vocal music and virtuosic tabla skills. Kaushiki's father Pandit Ajoy Chakrabarty provides excellent harmonium accompaniment with supporting harmonium accompaniment by Sri Chiranjib Chakrabarty. Chiranjib is an Indian vocal singer himself, having trained under Pandit Arun Bhaduri at the Sangeet Research Academy. He has performed and accompanied both in India and the UK, and has established himself as a respected singer and teacher in the UK. Kaushiki was accompanied on the tanpura by Ranjana Ghatak, a vocal student of Pandit Ajoy Chakrabarty based in the UK.

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