Friday, February 18, 2011

West meets East! Music with an Attitude...

In the late 1970s and early 1980s, rock and roll fusions with Indian music were well-known throughout Europe and North America. Ali Akbar Khan's 1955 performance in the United States was perhaps the beginning of this trend.


Chinese Pipa Soloist Gao Hong with Pandit Shubhendra Rao
Original Composition written and performed by Shubhendra Rao, Sitar; Gao Hong, Pipa; with Ty Burhoe, Tabla. Live at Walker Arts Center, Minneapolis, Minnesota.

Jazz pioneers such as John Coltrane—who recorded a composition entitled 'India' during the November 1961 sessions for his album Live At The Village Vanguard (the track was not released until 1963 on Coltrane's album Impressions)—also embraced this fusion. George Harrison (of the Beatles) played the sitar on the song "Norwegian Wood (This Bird Has Flown)" in 1965, which sparked interest from Shankar, who subsequently took Harrison as his apprentice. Jazz innovator Miles Davis recorded and performed with musicians like Khalil Balakrishna, Bihari Sharma, and Badal Roy in his post-1968 electric ensembles. Virtuoso jazz guitarist John McLaughlin spent several years in Madurai learning Carnatic music and incorporated it into many of his acts including Shakti which featured prominent Indian musicians. Other Western artists such as the Grateful Dead, Incredible String Band, the Rolling Stones, the Move and Traffic soon incorporated Indian influences and instruments, and added Indian performers. Legendary Grateful Dead frontman Jerry Garcia joined guitarist Sanjay Mishra on his classic cd "Blue Incantation" (1995). Mishra also wrote an original score for French Director Eric Heumann for his film Port Djema (1996) which won best score at Hamptons film festival and The Golden Bear at Berlin. in 2000 he recorded Rescue with drummer Dennis Chambers (Carlos Santana, John McLaughlin et al.) and in 2006 Chateau Benares with guests DJ Logic and Keller Williams (guitar and bass).

Birds Firts Flight [Strings Tradition] - 2008
Mamadou Diabate on Kora - Ustad Shujaat Husain Khan on Sitar
Lalgudi Gjr Krishnan : Violin - Gouri shankar : Tabla - Murali Trichy : Ghatam

Though the Indian music craze soon died down among mainstream audiences, die hard fans and immigrants continued the fusion. In 1985, a beat oriented, Raga Rock hybrid called Sitar Power by Ashwin Batish reintroduced sitar in western nations. Sitar Power drew the attention of a number of record labels and was snapped up by Shanachie Records of New Jersey to head their World Beat Ethno Pop division.


Snehasish Mozumder - Duet Indian Mandolin & Guitar - Indo Flamenco Concert - Virgina

In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground. Since the 90's, Canadian born musician Nadaka who has spent most of his life in India, has been creating music that is an acoustic fusion of Indian classical music with western styles. One such singer who has merged the Bhakti sangeet tradition of India with the western non-India music is Krishna Das and sells music records of his musical sadhana.

Julian Bream in India (1963) performs an improvisation with Ali Akbar Khan on Sarod along with his tabla player. Very unique footage reveals the wonderful musical personality of Julian Bream. Available as part of the "My Life In Music" DVD.
 
In the new millennium, American hip-hop has featured Indian filmi and bhangra. Mainstream hip-hop artists have sampled songs from Bollywood movies and have collaborated with Indian artists. Examples include Timbaland's "Indian Flute", Erick Sermon and Redman's "React", Slum Village's "Disco", and Truth Hurts' hit song "Addictive", which sampled a Lata Mangeshkar song, and The Black Eyed Peas sampled Asha Bhosle's song "Yeh Mera Dil" in their hit single "Don't Phunk With My Heart". In 1997, the British band Cornershop paid tribute to Asha Bhosle with their song Brimful of Asha, which became an international hit. British-born Indian artist Panjabi MC also had a Bhangra hit in the U.S. with "Mundian To Bach Ke" which featured rapper Jay-Z. Asian Dub Foundation are not huge mainstream stars, but their politically-charged rap and punk rock influenced sound has a multi-racial audience in their native UK. In 2008, international star Snoop Dogg appeared in a song in the film Singh Is Kinng.

Guitarist John Mclaughlin and violinist L. shankar. Two sisters

Sometimes, the music of India will fuse with the traditional music of other countries. For example, Delhi 2 Dublin, a band based in Canada, is known for fusing Indian and Irish music, and Bhangraton is a fusion of Bhangra music with reggaeton, which itself is a fusion of hip hop, reggae, and traditional Latin American music. (Source: http://en.wikipedia.org/wiki/Music_of_India)  

Sitar meets Flamenco, Udo Kamjunke and Wolfgang Gerhard
Live concert from January 2007 at Cologne. Wolfgang Gerhard received the award as best Flamencoartist for Jazz meets Flamenco. Now he creates "Sitar meets Flamenco" with Udo Kamjunke.

Monday, February 14, 2011

THE MUSIC ROOM! Sitarist Ut. Shahid Parvez Khan & Nitin Mitta on tabla in CONCERT!

"The Music Room" 
where music dissolves all boundaries!
An intimate journey into the diversity and dynamic nature of Indian Classical Music presented by HarmoNYom.









Saturday February 26 2011, 8:00 pm
(Doors open at 7:30 pm)
A performance by maestro Ustad Shahid Parvez Khan, one of the most outstanding sitarist, accompanied by brilliant Nitin Mitta on tabla. The concert will be followed by a lively conversation with the artists. The evening includes complimentary Chai and Indian-inspired gourmet snacks.

Venue: St. John's Lutheran Church, 81 Christopher Street (Corner 7 Ave), New York, NY 10014. Directions and map

Tickets (1 concert): $40, $25 (Students w/ID, Seniors & Children under 18) (Cash only at door)
Memberships (3 concerts): $115 (Individual), $220 (Pair), $65 (Students w/ID, Seniors & Children under 18
Buy Tickets

To read: "Classical Indian Sitarist Coming to NY"  
By Nemanja Rebic - Feb 21, 2011

Ut. Shahid Parvez showing his magnificant control of the sitar in this awkward 10 beats, Jhaptaal, gat accompanied by Pandit Kumar Bose on tabla. In Delhi on the 1 March 2007.

The Music Room is an unique project highlighting maestros from South Asia but as well producing five fundraising events bringing music lovers together to support Music Basti, a non-for-profit organization empowering hundreds of "street children" from India through the media of music. HarmoNYom will donate 10% of all revenues to Music Basti as part of the fundraisings!

In the Music Room, we aim to push the envelope even further. We are moving beyond borders to celebrate the richness and heritage of Indian Classical Music by returning to one of South Asia’s most revered traditions of the past. Come join us as we recreate the magic of the Baithak!

Up close and personal with five maestros:  
Pt. Vishwa Mohan Bhatt (October 2 2010),  
Ut. Shahid Parvez Khan (February 26 2011),  
Shashank Subramanyam (April 17 2011),   
Ut. Wasifuddin Dagar (May 20 2011)
Ut. Mashkoor Ali Khan (July 2011).

Just as the centuries old paintings depict, we’ll gather cozily around our visiting maestros for informal talks and extraordinary performances. No blinding stage lights, no hard seats, just a free and open exchange between artist and audience. And the magical creations of the rhythms and ragas…
Learn more about The Music Room


Community Partners:

Learn more about HarmoNYom

Sunday, February 13, 2011

Chandrika K. Tandon goes today for Grammy 2011!

A Raga based album Soul Chants Music conceived by great artists Chandrika Krishnamurthy Tandon including Sarodist Pt. Tejendra Majumdar nominated today Sunday February 13 for the Grammy's 2011!

To Watch today streamed live internationally on www.grammy.com/live and www.youtube.com/thegrammys beginning at 1 p.m. Pacific Time.






Chandrika Krishnamurthy Tandon celebrates the grace that exists in our innermost selves. Her musical and spiritual journey has been guided by great masters from Carnatic, Hindustani, South American and Western traditions. Soul Chants Music is a not for profit platform for world music, global beats, and fusion. All proceeds of the sale of Soul Call are being donated to benefit organizations in the fields of community building, arts and spirituality. http://www.soulchants.blogspot.com/



Chandrika Tandon - Raag Basanth - From Soul Call - A 2011 Grammy Nominated Album

"A Corporate Trailblazer Goes for Grammy Gold"  by Lavina Melwani
She is the quintessential underdog, the unknown. Chandrika Krishnamurthy Tandon a financial advisor and a trustee of New York University, is also a nominee for the Grammy Award in the Best Contemporary World Music Album category, and she's up against veterans and superstars of the music world—Bela Fleck, Bebel Gilberto, Angelique Kidjo and Sergio Mendes.... To read more: http://online.wsj.com/article/SB10001424052748704132204576136202896980810.html?mod=WSJ_NY_Culture_LEADNewsCollection

Wednesday, February 9, 2011

Rendition! Raag Darbari by Vidushi Smt. Lalith J. Rao

Vidushi Smt. Lalith J. Rao (also spelt Lalit) (born 6 November 1942) is an Indian classical singer and a representative of the Agra gharana.

Rao's introduction to Hindustani classical music was at the age of three, at a concert by the Agra Gharana vocalist Faiyaz Khan. She started learning music from Rama Rao Naik, who initiated her into the Agra gharana style of singing. Rao's first public concert was at the Bangalore Sangeet Sabha at the age of 12. When she was 14, she won the All India Classical Music competition in Mumbai and became the youngest participant of the Swami Haridas Sangeet Sammelan the same year, and was well received.


Raag Darbari by Vidushi Lalith J. Rao - Part 1/2 - Concert performed in france.

Rao completed her Bachelors and Masters in Electrical Communication Engineering, the latter from the University of New Brunswick. In 1967, she married Jayavanth Rao and moved to Delhi to work. Her husband convinced Rao to abandon her engineering career and pursue singing, and she received training from Dinkar Kaikini and later from Khadim Hussain Khan.
Rao went back to the Sur Singar Sansad to restart her performance career and became a professional singer after a positive reception. She is as adept at singing khyal, dhrupad, dhamar, as well as thumri, tarana and hori. Under the guidance of her ustad, Rao developed a unique style of rendering taranas.
Her first concert abroad was in 1981. She has performed in France, UK, USA and Canada and is a top-grade artiste of All India Radio. Rao regularly performs on the Radio and Television.



Raag Darbari by Vidushi Lalith J. Rao - Part 2/2 - Concert performed in france.

Rao was one of the key figures in setting up a trust "Sajan Milap" in the mid-seventies, to popularise the music of her Ustad, who used the pen name "Sajan Piya". She was the chief coordinator for the Ford Foundation Archival project at the ITC Sangeet Research Academy from 1989-91. Few years later she herself sang for the Ethno-Musicology Department of the University of Washington in Seattle. for them to archive the music of her Agra gharana. Rao lost her voice on the eve of a tour of Europe in 1994 but gradually recovered with the help of a voice trainer. She lives and teaches music in Bangalore.

Saturday, February 5, 2011

About! Raag Gara "The raga and the fragrance"

Gara is a rare raga. But, if you have heard several renditions of it, you could be confused because one Gara often does not sound like others. There is a good reason for this because Gara, is not the exclusive name of a well-defined melodic entity. Gara is, in fact, an independent raga, as well as an additive fragrance to other ragas; and that too, in two variants. If there is confusion about Gara, it is because musicians might announce, simply, Gara, when they decide to perform one of the two variants, each of which has a self-explanatory name. By Deepak S. Raja* (http://swaratala.blogspot.com/search?q=raga+gara

Gara belongs to a family of ragas, which were apparently derived from folk melodies, and entered art-music in association with the Thumree genre. (Manuel, Peter. Thumree in historical and stylistic perspectives, First edition, 1989, Motilal Barasidass, Delhi). This family includes ragas like Kafi, Pilu, Jangula, Barwa, and Zilla, along with several others. These ragas remained loose, informal melodic entities until the 18th century, after which their grammar was organized by classically trained musicians. However, even today, as Manuel points out (Ibid. 1989), they are performed only infrequently in classical and semi-classical music, and in disparate versions. 


Ashwini Bhide Deshpande is a great khayal singer of Jaipur gharana! Systematic exposition of the raga structure, brilliant phrasing, variety of taan patterns, ease and grace in all of the three octaves mark her singing! This jhoola on Raag Gara simply takes one in the middle of an enchanting SAWAN RUT!


Raga Jaijaiwanti bears the closest resemblance to Gara. However, according to some authors (B Subba Rao, Raga Nidhi, 4th edition. 1996, Music Academy, Madras), Gara is a combination of Khamaj, Piloo and Jhinjhoti. The raga belongs to the Kafi parent scale, and is characterised by a notional scale-base at Pa of the lower octave, rather than the customary Sa. Although an antara movement ascending to the upper-Sa is often encountered in this raga, prolonged action in the upper half of the melodic canvas is contra-indicated.

Ascent: M. P. D. N. S R g R G M P
Descent: P M g r S n. D. P. D. N. S

Identifying phrases: R g R S / D. n. P. D. N. S/ G M R g R.

Bhatkhande regards the raga as time-neutral. Other authorities and common practice accept its performance between 9.00 pm and midnight.

Full-scale Khayal style presentations of Gara were popular with Agra Garana vocalists, between 1940's and the 1960's. During that period, instrumentalists adopted several Agra favourites. Gara was one of them. While studying this raga, I was able to locate recordings only of Sharafat Hussain, and Yunus Hussain, both Agra vocalists, Ustad Bahadur Khan, a Sarod maestro of the Maihar-Senia lineage, and Ustad Vilayat Khan, the recent torch-bearer of the Imdad Khan/ Etawa Garana. You would be hard put to locate a Gara recording made by a musician of the post-independence generation.


Vilayat Khan - Raga Gara & Zakir Hussain - Teen Taal

Sharafat’s treatment of Gara is broadly consistent with the melodic outline available from Yunus Hussain’s unpublished recording, and the recording of the raga by the sarodist, Ustad Bahadur Khan. Even between the two Agra vocalists of the same generation – Sharafat and Yunus -- there are minor differences in melodic phrasing. Bahadur Khan broadly follows the Agra phrasing strategy, veering a little towards Pilu around base-Sa by emphasising Ni. Sitarist, Ustad Vilayat Khan (EMI/HMV: ECSD: 2828), also of the same generation, adopts the Pilu-Jhinjhoti axis of the raga described by Bhatkhande. Towards the upper end of the melodic canvas, however, Vilayat Khan’s Gara tilts mildly towards Jaijaiwanti of the Bageshri ang (bias).

Considering that melodic informality virtually defines the raga, we need not attach significance to the differences in its interpretation, as long as it remains identifiable, and distinct from ragas of the same family, but most crucially, from Jaijaiwanti.

This raga is characterized by limited improvisational potential and a zigzag phraseology, both protecting it from the shadow of Jaijaiwanti. But, its phrasing strategy exposes it to risk of confusion with other ragas, such as Pilu and Desi in the purvanga, and Barwa (Agra version) in the uttaranga. The most comprehensive risk of confusion for Gara comes, of course, from Jaijaiwanti of either anga (bias) – Desh or Bageshri.

D. V. Paluskar: Bhajan in Raga Gara

http://www.math.washington.edu/~gangolli/D.%20V%20Paluskar;%20Tumaki%20chalata.mp3

The phraseological distinctions between Gara and Jaijaiwanti are subtle, and the mood is often believed to distinguish between the ragas. Conventional wisdom regards Gara as vivacious and romantic, and Jaijaiwanti as profound, though not unromantic. This confirms the historical fact that Jaijaiwanti has acceptance in the formal Dhrupad and Khayal genres, while Gara’s primary territory has been the romanticist thumree. The raga apparently lends itself, within limits no doubt, to a range of moods broadly towards the lighter end of the emotional scale.

Tonal geometry and the additive fragrance
Outside the context of a full-fledged raga, and as an additive fragrance to compatible ragas, Gara is associated with a single phrase: D-n-S-N-S around base-Sa. . The melodic key to Gara, the fragrance, is the tonal geometry of this phrase. With Sa as the base =1, this phrase has relative pitch values of: Dh=0.8333, ni=0.88889, Sa=1.00, Ni=0.9375, Sa=1.00. This is considered the signature of Gara, the raga, which is actually “Gara to the base-Sa”. By the principle of first-fourth and first-fifth correspondences, this geometry delivers congruent or near-congruent phrases in different regions of the octave.


Brij Bhushan Kabra on Slide Guitar - Dhun Based on Raga Gara - Dadra Zakir Hussain - Taal on Tabla

If the scale base is shifted to Ma=1, the phrase R-g-M-G-M will give you near-identical relative pitch values: Re=0.844, ga=0.872, Ma=1.00, Ga=0.9375, Ma=1.00. This phrase, along with a scale-adjusted phraseology, defines a raga called "Madhyam-se-Gara" or “Gara to the base Ma”.

If the scale-base is shifted to Pa=1, once again, we get G-M-P-M^-P with near-identical tonal geometry. Ga=0.8333, Ma=0.888, Pa=1.00, Ma^=0.9375, Pa=1.00. This phrase, along with a scale-adjusted phraseology, can define a raga called "Pancham-se-Gara" or "Gara to the base Pa."


Shamik Bose performing Bhajans set on Raga Gara
Last bhajan in a program organized by the India Cultural Foundation, Oklahoma City. Shamik Bose, a disciple of Sangeetacharya Pandit Amaresh Chawdhury of the Senia Gharana, is accompanied on the tabla by Shantanu Bhattacharya, a desciple of Ustad Tari Khan.

Neither of the Gara fragrances, whether from Ma or Pa, yield independent self-sustaining ragas. They get mixed up with thumree genre ragas like Piloo, Khamaj, Kafi, Barwa etc. as additive flavours to enhance the melodic potential and lyrical quality of these ragas in rendition.



If you think you have never heard Gara as an additive fragrance, think again. The song “Mohe panghat pe Nandalal chhed gayo re” in the film Mughal-e-Azam, is composed in “Pancham-se-Gara”. If you jolt your memory now, you might also recall having heard light compositions in “Madhyam-se-Gara” without quite knowing what the melody is called, and why. 

*Deepak S. Raja (http://swaratala.blogspot.com), the Repertoire Analyst for India Archive Music Ltd., New York, has just launched a significant new Internet resource on Hindustani music.  Deepak is a trained sitar and surbahar player, who has also received training in Khayal vocalism. His book "Hindustani Music – a tradition in transition", has received widespread acclaim in India and abroad. His second book incorporating a survey of 20th century Khayal vocalism is due for publication by end-2007. Deepak Raja holds an MBA from India's most prestigious business school, and has a distinguished career in the media industry and as a financial consultant. He is well known in publishing circles for his contribution as a former Editor of Business India, and Secretary General of the Indian Newspapr Society.

Thursday, February 3, 2011

Mohammad Bandi, the courtesan of Patna

During 1902-1908 many ordinary artists of that period recorded for The Gramophone Company. They were the Bais, Jans or Bandis, otherwise known as dancing girls or courtesans, living under the patronage of kings and wealthy zamindars (landlords). Most of them belonged to Delhi, Agra, Lucknow, Allahabad, Benares, Patna and Calcutta. 
Among these many nondescript dancer singers was one called Mohammad Bandi of Patna. Until 1908, it was customary for all artists to announce their names at the end of each recording. This was necessary to facilitate the record pressing company in making the record labels. Listen to Mohammad Bandi announcing her name at the end of her songs. These recordings are very rare and of great historical importance. (Source: http://murad.pk/music/?p=393)



In 1901, J W Hawd came to Calcutta and soon a branch office was opened.  F W Gaiseberg arrived in 1902 for his first recording expedition and recorded about five hundred songs.  These were then sent to Joseph Berliner’s pressing factory at Hanover in Germany.  In order to have recorded documentation, for making paper labels, the artists were asked to announce their names in English at the end of singing.  This helped the technicians in Germany in making the final records ready for sale.  Hence, several records of that period have words ‘Made in Germany/Hanover’ printed on label and the announcement at the end.  Initial recordings were taken from ‘Nautch Girls’ (dancing girls) and ‘Baiji’s’ or ‘Kothewalis’.  Later on celebrities like ‘Gauhar Jan of Calcutta’, ‘Jankibai of Allahabad’, ‘Peara Sahib’ recorded prolifically for the company.  This continued for two more recording expeditions and about 3000 wax records were made, pressed in Germany and brought back to India for marketing.  

F W Gaisberg writes: ‘All the female singers were of course from the caste of the public women, and in those days it was practically impossible to record the voice of a respectable woman.  The songs and dances were passed by word of mouth from mother to daughter.  They began public appearances at the age of ten to twelve years.  The clever ones went up to the top and sometimes traveled all over the country in great demand at the wedding feasts of the wealthy.  As they began to make names for themselves many of them insisted that the word ‘amateur’ should be printed on record label.  Fees as a rule, were very reasonable in comparison to those paid in Europe, but recording expenses were heavy, since most of the artists had to be trained over long periods before they developed into acceptable gramophone singers".  (Source: Indian Gramophone Records by Suresh Chandvankar 11/02 http://www.mustrad.org.uk/articles/indcent.htm)



Mohammad Bandi - Holi (Hori) 1907 - A Rare Primitive Indian Hindi Song
This HORI is one of the rare song that she recorded for The Gramophone Company.



Mohammad Bandi Tori Banki Banki Chitwan 1907 in Raga Barwa khayal



Mohammad Bandi in Raga Kafi Thumri 1908

Tuesday, February 1, 2011

Music! Bansuri Flutist G.S. Sachdev - Live Concert - July 6, 1971

G. S. Sachdev began playing the Bansuri when he was 14, and has created a rare form of instant communication with audiences through his music. Unlike many musicians , he has shied away from fusion , finding great pleasure and a sense of immense satisfaction with the rigors of infinite exploration within traditional pure classical Indian music. Beyond his worldwide live performances , Sachdev’s music is thoroughly enjoyed in yoga studios , meditation ashrams , massage rooms , spiritual centers and homes everywhere imaginable. His music is considered an antidote to stress , fatigue and cynicism.Sachdev’s frequent world tours and recordings have won him many laurels and made him an internationally renowned legend respected by musicians and audiences in all realms of world music today. (Source: http://www.bansuri.net/gssachdev/)


In these 3 recordings, he performs an extended concert of music for bass flute, live from the KPFA Studio B. on July 6 1971.
Mr. Sachdev had just completed his first year as a member of the faculty of Ali Akbar College in San Rafael. He is joined by a number of his students for this concert of classical Indian music.
During the intermission, Charles Amirkhanian interviews Sachdev about his early training and career as a flute player. 


1- Classical Indian Music: A Live Concert by G.S. Sachdev (July 6, 1971) - 62.21mn



2- Classical Indian Music: A Live Concert by G.S. Sachdev (July 6, 1971) - 27.30mn

3- Classical Indian Music: A Live Concert by G.S. Sachdev (July 6, 1971) - 31.28mn

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