Shivkumar Sharma & Zakir Hussain - Rag Madhuvanti, Rag Misra Tilang (1988)

"Shivkumar Sharma is accompanied on this album by Zakir Hussain. Nimbus's importance as the first CD pressing plant in Britain meant that its recording wing had developed a keen and early appreciation of the technology and potential of CD production.
A beautiful, sensitively played pairing." ~ Ken Hunt, All Music Guide

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"Pandit Shivkumar Sharma and Zakir Hussain are two titans of the Indian classical tradition. They have collaborated together since the 1980s, and are now acknowledged as the living masters of Indian music on the world stage.

A Grammy winner, National Heritage Fellowship recipient, Hussain is one of India’s most renowned cultural ambassadors and among the leading musicians of his generation. He is a master of the tabla, a classical percussion instrument made of hardwood, natural hide, and silver. At Duke, Hussain will appear with Sharma, who has enraptured audiences for over 50 years with his mastery of the santur, a hammered dulcimer famous for its lush, shimmering sound and known in India as the Shata Tantri Veena or “hundred-stringed lute.” Hussain and Sharma are simply the most accomplished instrumentalists of their kind in the world, musicians whose dazzling art remains deeply engaged in a national culture even while reaching beyond it.



Their performance, showcasing the intricate compositions from the North Indian classical tradition, is a fit end to a Duke Artists Series aimed at honoring the depth and reach of classical music today." in duke performances

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Shivkumar Sharma : santur
Zakir Hussain : tabla
Varatha Luxmie : tambura

Recorded at Wyastone Leys, 11 June 1987

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1. Rag Madhuvanti (35'31'')
2. Rag Misra Tilang (35'37'')

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V/A - GANGA : Les Musiques du Gange (1999)

Ganga: Les Musiques du Gange is a three-disc set of whimsical worldbeats, featuring the talent and beauty of the Music and Dance Academy of India. More appropriately, this album is a perfect reflection of the spiritual instrumentals found in music of this part of the world. ~ MacKenzie Wilson, All Music Guide

This amazing compilation represents a series of significant "roots recordings" of Indian popular music, including chants (mantras), instrumental music and impressive natural soundscapes.
Most of the music was collected impromptu along the margins of the Great Mother Ganga: the Ganges River, the most sacred river in India (captured all the way from the spring [in the Himalayas] to the mouth of the Ganges river).
The sound quality of this triple CD is astonishing and this fact allows an intimate and profound sound voyage to the listener. ~ Ludwig Vanessa

Disc: I

(Mantras) At Gaumukh, the Source of the Ganges (2:05)
(Conch) Call to Prayer at the Temple of Gangotri (2:31)
Ganga Stuti (The Legend of Ganga) (5:19)
(Pungi) At Devprayag (5:19)
Ganapati Upanishad (4:52)
(Dhol) Percussion Ensemble (3:24)
Nautanki T Kanpur (2:36)
Trveni at Allahabad (1:38)
Badhaiyya (7:47)
Gaona Geet (The Bride's Farewell) (3:27)
Kajari (A Popular Melody of the Mirzapur Region) (7:01)
Nirgun Pad, from the Benares Region (4:25)
(Hori) Mishra Kafi Raga, by Chhannu Lal Mishra (13:29)

Disc: II

Hanuman Arati (3:48)
Birha (7:33)
Pachra (9:21)
Khari Birha (2:23)
Kevat Ka Sohar (2:28)
Kilona, Toy-Song for Childern, Patna Region (2:28)
Banni Mata Ka Geet (2:43)
Tantric Rite (4:25)
Sohar (6:08)
Kohbar (4:49)
Ropni Geet (3:55)
Kajri Dhun [Shahnai Tune for Dawn at Jahangira] (4:59)

Disc: III

Domni Song (3:29)
(Jatsar) A Million Song (3:48)
(Vivah Geet) (7:11)
(Lori) A Cradle Song (3:40)
Hori Jogria (4:49)
Ma Melinir Gaan (3:48)
Patar Banshi (3:55)
Ô Doyal (6:32)
Manush, Baul Song (7:47)
Bhataiali, Boatman's Song (1:10)
Murshidi, Mystic Minestrel's Song (4:16)
Bhashan, Behula Legend (2:07)
Kali Kirtana, of Andul (Suburb of Calcutta) (9:06)


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A Gift to Ustad Allah Rakha - 75th Birthday

Alla Rakha Quereshi, born April 29, 1919, at Ratangarh, near Jammu in India, is one of the leading accompanists and tabla soloists of Hindustani music. He is also vocalist, harmonium player and composer. He rose to fame through his work as Ravi Shankar's accompanist in the 1960s and 1970s when Shankar's music was finding a new, international audience. Since record-keeping at the time of his birth tended to be hit-and-miss affairs -- often little more than a season or in proximity to a holy day -- his birth date is approximate, borne out by the fact that he celebrated his 75th birthday in Bombay on January 15, 1994.

Quereshi's musical interests were fueled by the traveling theatrical entertainments that would pass through the Jammu region, and eventually, he ran away from home to Lahore in present-day Pakistan. There he lived with his uncle and eventually took formal tuition; fortunately, his skills were recognized early on. Unusually, he studied under Mian Kadur Bukhsh for tabla and under Ashiq Ali Khan for voice. He went to work with All India Radio (AIR) at its Delhi location in 1936 with the famous broadcaster Z.A. Bokhari. He worked in other locations for AIR before leaving the company in 1943 for the movie industry where he composed and performed music to meet the insatiable demand for cinematic entertainment. In time he moved on to classical music. He was especially known for his work with two of the subcontinent's finest sitarists, having worked with both Vilayat Khan and Ravi Shankar. Alla Rakha went on to record extensively with Ravi Shankar. He also made a mark as a world class percussionist with his early East-West collaboration with American jazz drummer Buddy Rich on Rich à la Rakha (World Pacific WPS 21453) and the solo Tabla! (WPS 21458).

He remains one of the supreme percussionists of Northern Indian music and like his sons, Zakir
Hussain and Fazal Quereshi, he has given birth to a new style of tabla playing which has elevated the role of tabla player from the relatively lowly accompanist to soloist. Many listeners expect the flamboyance and panache of their cross-rhythms and compare other players' styles unfavorably to that of Alla Rakha and his sons. It is a relatively recent trend, fast becoming the norm. Exciting musically and visually arresting, it has been carbon dated to the 1960s and the emergence of a new wave of soloists bringing new levels of stagecraft to the concert podium. -- Ken Hunt, All Music Guide

A performance celebrating the approximate 75 years of the tabla master, joining father and sons in an unique display of immaculate rhythmic techinique. Allah Rakha would expire six years later and this was one of his last recordings.

1. Matt Taal: Ustad Allah Rakha solo
Sarangi Lahra Raag Khamaj
2. Rupak Taal: Zakir Husain & Fazal Quraishi
Sarangi Lahra Raag Saraswati
3. Sawari Taal: Zakir Husain solo
Sarangi Lahra Raag Chamapakali
4. Ek Taal: Ustad Allah Rakha & Zakir Husain
Sarangi Lahra Raag Maru Bihag
5. Teen Taal: Ustad Allah Rakha, Zakir Husain & Fazal Quraishi
Sarangi Lahra Raag Dhani

Sarangi accompainment by Ustad Sultan Khan

Recorded & released in 1994 by T-Series India

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U. Srinivas - Carnatic Classical Music on Mandolin

1. Shri Maha Ganapati
(Rangam-Nata; Adi Mayura Vishvanatha)
2. Parandhama
(Ragam-Dharmavati; Rupagam Dikshitar)
3. Sudha Madurya
(Ragam-Sindhunamakriya; Adi Thyagaraja)
4. Bajare
(Ragam-Abheri; Adi Mysore Vasudevachari)
5. Ennathavam
(Ragam-Kapi; Adi Papanasam Shiva)

U. Srinivas - Mandolin
Sikil Baskaran - Violin
Palghat Raghu - Mrdangam
V. Nagarajan - Ganjira
T.H. Subhash - Gatham

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New Bharat Brass Band - Inde: Fanfarre de Mariage

Indian brass bands as they are know today appeared about one century ago and soon became a must in marriage functions among upper, middle and noveaux riche classes, the wealth and prestige of the bride’s father being produced by the size and notoriety of the contracted band. Brass bands are heavily dominated by the figure of the “proprietor” who manages and allocates his musicians according to his wishes and market demand. Unlike their classical-trained colleagues, these musicians, mostly of humble origins, are regarded with sheer indifference, and are paid accordingly by the “proprietor”.

The New Bharat Brass Band of Bangalore is owned by Rama Swami, a former virtuoso of the clarinet. He conducts the Band while his brother arranges and harmonizes Bollywood hit songs for the wedding season. Most of the musicians are outsiders who used to play in smaller bands, although a few of them have hereditary associations with Swami’s orchestra. Half of them have other sources of income.

The selection is a mix of old and fresh themes. A Brass Band will usually play some 15 songs, with a few breaks, most probably repeating some tunes here and there, for a total of two hours. Brass Bands have been using synths, drums and loudspeakers for a few decades in order to overcome all other noise sources like car horns, constant firecrackers and varied sound systems.
The New Bharat Brass Band plays songs from films in several different Indian languages, and sometimes includes some Western tunes, like waltzes and South-American tunes. The Brass Band toured in Europe in 1992. Some say it was a huge success.

1. Hurdaya Jatula
2. Kitenedhino Ke Bad
3. Vasa Prema Dalli
4. Akash Belali Mele
5. Raja Ti Unnay Kanna MeNanji
6. Ennay Yarendre Nee Pakira
7. O Pryia Pryia
8. Chamil
9. Chumma Chumma
10. Kali Teri Choti
11. Manna Dole

Clarinets: S. Ramesh, S. Kumar, S. Murti
Trumpets: A. Antony, M. Channabasavanna, H. Hanumanthappa, V. Ramachandra, I. Sudharkar
Euphoniums: A. Arogoyam, R. Kumar, C. M. Sahib,
Alto Sax: M. Babulal
Tavil: K. Ramdas
Bass Drum: E. Venkatappa
Tap Dhol: A. Jaganath
Side Drum: R. Mustaq

Recorded in Malakoff, France, in July 1992

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Bravo Clippings #32

SERIAL NUMBER JOP 2731JJ4. Issued in 1987.

MKT Bhagavathar: 1937-1959

"Born in Trichy (Tamilnad, India) in 1910 to a goldsmith family, M.K. Thyagaraja Bhagavathar remains a seminal figure in Tamil music. Celebrated as the very first star in the Tamil film industry (also known as Kollywood), Bhagavathar achieved legendary status in the 1930s and 1940s with a series of devotional songs and epic movies that continue to delight generations of Tamils and music lovers in the world. His training in classical Carnatic traditions provided him with the necessary discipline to bring Papanasam Sivam's compositions to life. This selection, featuring material recorded between 1937 and 1959, is the perfect introduction to M.K.T. Bhagavathar's legendary voice"

1. Bhumiyil Manida
2. Gnaanakkan Ondru
3. Radhe Unakku
4. Vadhaname Chanthira
5. Shyamala Jeevapriye
6. Characharangal
7. Manmatha Lilayayi
8. Naatiya Kalaye
9. Vasantha Ruthu
10. Rajan Maharajan
11. Ambaa Manam
12 Aranange Nai
13. Sollu Paapa
14. Manam Kaninthe
15. Chuttum Vizhil Shudar Thaan
16. Sorpana Vaazhvil
17. Chedi Maraivile
18. Annayum Thandayum

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RD Burman - Caravan (1971)

"The quintessential Burman score and a true testament to his off-kilter genius. The rock ‘n’ roll flavoured Cabaret scene had been a standard in Bollywood movies since the ‘50s, but with the song ‘Piya Tu Ab To Aja’, Burman invented a whole new revolutionary style of music - featuring surf guitars, sleazy jazz sax, moody vibes, Spanish trumpet, eerie organ playing, a big band and a ridiculous number of breaks, bridges and rhythm changes. A total classic." Fact Magazine

1. Pya Tu Ab To Aja - Asha Bhosle & RD Burman
2. Dilbar Diln Se Pyare - Lata Mangeshkar
3. Chadati Jawani Meri Chal Mastani - Lata Mangeshkar & Mohd. Rafi
4. Goriya Kahan Tera Desh - Mohd. Rafi & Asha Bhosle
5. Ab Jo Mile hain - Asha Bhosle
6. Hum to Hain Rahi Dil Ke - Kishore Kumar
7. Daiya Yeh Main Kahan Phasi - Asha Bhosle
8. Kitna Pyara Wada - Lata Mangeshkar & Mohd. Rafi

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RD Burman - Yaadon Ki Baaraat (1973)

Yaadon Ki Baarat is a movie directed by Nasir Hussain in 1973. It was a huge hit and it tells, in true Bollywood fashion, the story of three brothers separated during childhood. The eldest brother, played by Dharmendra, becomes friendly with a Muslim boy and grows up to be a good-hearted criminal; the younger one is adopted by a widower who works for a rich Bombay family, and leads a carefree life with his friends; and Ratan, raised by his family's maid, changes his name to Monto and forms a band, called The Avengers, sweeping Bombay's night scene with his wild tunes and eccentric clothing.

Unlike most Bollywood movies, the soundtrack is here crucial to the plot and holds the key to the family reunion that closes the film. In the opening scene, Lata Mangeshkar sings the title song with a children's choir and Padmini Shivangi, depicting the familial harmony that is soon to be destroyed by a villain who wears different sized shoes. This songs allows Lata to display her enormous vocal talent and remains an all-time favorite for Indians of all ages; it is also the song that will allow the three brothers to recognize each other and reunite in the end. After their parents' murder, the brothers go on with their separate lives, and the second song, Aap Ke Kamre Mein, introduces us to Monto and the Avengers, the Psych-Rock-Masala band that offers us the best songs in this soundtrack. Manic rock'n'roll guitars are here merged with fast paced grooves to take us through the various stages of the song. Kishore Kumar and Asha Bhonsle (RD Burman's wife) are then joined by a semi-chaotic choir (reminiscent of Hair-related stuff!), quickly transporting us to a frantic succesion of psych musical sketches that eventually lead to a variation on Dum Maro Dum (probably RD Burman's best known tune in the West) and back again to the opening tune -- that good! Next comes Churya Liya Tumne, an extremely popular tune by Asha that illustrates the memorable courting of Sunita (the unbelievably gorgeous Zeenat Aman) by Vijay (Vijay Arora) at one of those Bombay high-class parties that Bollywood screenwriters fancy so much.

In O Meri Soni, RD Burman pulls one of his plagium/not-plagium tricks and has Asha and Rafi screaming "I Love You" to illustrate a lovers' strife up in the mountains (with suicide threats and all). Then comes Lekar Hum Diwana Dil, another brilliant Burman take on psych rock. The song kicks off with distorted guitars, proceeds to a horn section typical of 70s Burman, and rapidly develops to produce one of Bollywoods most dramatic and intense tunes ever. Violins play a minor role here, as the guitars, congas and organ pave the way for another memorable Asha/Kishore duet. The final song, Yaadon Ki Baarat, revisits the opening tune but now substitues Lata's vocal gimmicks with an emotional and apotheotic duet by Rafi, "the nasal", and Kishore, "the king", marking the final reunion of the three brothers (Dharmendra, the good-hearted criminal, never sings throughout the movie, and therefore remains silent, incognito, and crying while his brothers embrace each other).

Whereas most Bollywood soundtracks, and even Burman's, usually include one or two good songs and simply fill up the rest of the time with banal tunes and arrangements, Yaadon Ki Baarat is engaging from the beginning to the end. It is perhaps Burman's most accomplished recording, one in which his penchant for crazed-out Western psych elements and his continuous engagement with Indian modern musical traditions don't override one another. This is thus true "fusion music", much more than any recording ever produced by Ravi Shankar or Anand Shankar. The only thing to be regretted here is the absence of "incidental music", those scraps of sound and musical sketches in which Burman excelled and that, unfortunately, the publishers deemed unworthy of the CD edition. Jay Burman Jay!

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Ustad Ali Akbar Khan - Raga Madhuvanti (2002)

1. Alap, Jor ani Jhala
2. Gat in vilambit teenthal
3. Gat in drut teenthal

Ustad Ali Akbar Khan - sarod
Pandit Swapan Chauduri - tabla
Ken Zuckerman - tanpura

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