 | Classical and Folk Music from India (non-Bollywood!) rapidshare |  |
| Posted: Sat May 10, 2008 8:19 am |
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Imrat Khan
Rag Madhur Ranjani
Topic, 1992
1. Section A: Solo Sitar
2. Section B: Sitar & Tabla
Imrat Khan - sitar
Shafaatullah Khan - tabla
| Quote: | Just a change of pace. Imrat Khan is part of the illustrious Khan family from India in which just about everyone totally rips everything they do on record. Dude plays sitar on this recording and is insane on it. This album is comprised of 2 30-minute pieces and both are extremely beautiful. One is "Solo Sitar" which is just that. The second is "Sitar & Tabla" which features Imrat's son on the tabla, and he is great too. I'll type up the liner notes:
Imrat Khan is one of the most well known Indian musicians of our time. He traces his lineage back through a family of musicians to the court of the great Moghul Emperor Akbar of the sixteenth century. He trained on the surbahar with his uncle Usta Waheed Khan, and studied sitar with his older brother, the celebrated Ustad Vilayat Khan.
Gayecki Ang [a vocal style of playing stringed instruments] has become a trademark of the gharana (musical "house") of Imrat and Vilayat Khan. Gayecki Ang involves an extensive use of a technique called meend wherein a player pulls sideways across the frets and allows for an entire musical phrase to be produced with a single stroke of the plectrum.
Imrat Khan is renowned throughout the world, and maintains a busy travel and touring schedule. He performs regularly in the major cultural centers of Europe and the Americas, as well as in India, where he makes his home.
Shafaatullah Khan accompanies his father on tabla with a sensitivity that is characteristic of the entire Khan family. Shafaatullah first began his training in sitar and surbahar, and later studied tabla in order to provide accompaniment for his father and his brothers, all of whom are string players. He performs regularly with them in international circuits, as well as with other well known musicians. He currently resides in the United States.
Indian Classical music is one of the most developed forms of music to have emanated from our world. In many ways, especially as regards scale and rhythmic structures, it is far more complex than Western Classical music. Its improvisational aspects require and encourage performers to inject their own personalities into the music, without ever straying very far from the set melody and rhythm. In this way, a classical raga written hundreds of years ago may be rendered somewhat differently by any number of musicians over the years. These characteristics afford Indian Classical music a certain timelessness, and allow for a wide range of interpretations of a given composition.
It has always been a sensitive issue as to when a musician should feel comfortable enough to compose his own rag. A musician might attempt this only after a long period of his life, after a thorough knowledge of perhaps hundreds of rags has been attained. A musician of such stature might then present his own composition. It does not suffice however, to merely compose a rag because in order to be thoroughly absorbed into the musical system, a piece must be played regularly and passed on through the generations until it achieves recognized status.
Rag Madhur Ranjani is a rag of Imrat Khan's own design, but is based on two well known traditional rags, Madhuvanti and Shivranjani. Set in a minor key, Rag Madhur Ranjani echoes the pathos of Shivranjani, but also expresses fulfillment, as of finding one's beloved after a long period of absence. Rag Madhur Ranjani is performed on this recording in alap, villambit, madhyalaya and drut. The scale, in ascending and descending forms is as follows:
Sa Re Gab Ma# Pa Dha Sa
Although Imrat Khan is very well known for his surbahar playing, it was specifically requested that he render a performance on sitar for this recording. This request was graciously obliged, but it was not known until the day of the recording exactly which rag he would play. In Western music, it would be very difficult (if not impossible) for a producer to embark on a recording session without knowing which songs were to be performed. However, in the Indian tradition, many factors such as time of day, season, climactic conditions, personal feelings of the performer etc. regularly help to determine which piece will be most appropriate for a given performance. Madhur Ranjani was the perfect choice for this recording and it is rendered here with great passion and dexterity. The relatively diminished role of the tamboura, played sensitively by Irshad Khan, is used only as filler at crucial points in the rag, rather than throughout the entire performance. In this way, the silence that exists in between individual notes can be utilized to its greatest extent in order to create a tension and balance which are integral to the final effect of the piece. |
| Quote: | | A member of one of Indian classical music's most prominent, well-respected families, Ustad Imrat Khan plays the sitar in a style known as "gayeki ang," which is a vocal style of playing stringed instruments. Relying less on the droning tamboura than is common for most North Indian solo instrumentalists, Khan allows his evocative, expressive style to stand out, using dynamic melodies and ample space between notes to create a wonderful sense of dramatic tension. The 30-minute opening segment allows the virtuoso to display his mesmerizing sitar skills, while the second half of the raga finds him joined by his son, Shafaatullah Khan, on tabla. Rendered with SPAMising depth and skill, this is a wonderful example of meditative minimalism at its finest. ~ Bret Love |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Sat May 10, 2008 8:20 am |
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Vishwa Mohan Bhatt
Saradamani
Water Lily Acoustics, 1996
1. Vaisnava Bhajan
2. Dhun In Rag Pitu
3. Romantic Dhun
4. Kajari From Varanasi
5. Dhun In Rag Pahadi
6. Rasiya From Mathura
Vishwa Mohan Bhatt - Mohan Vina
Sukhvinder Singh Namdhari – Tabla
| Quote: | | Originally released in an audiophile vinyl edition, this volume according to Kavichandran Alexander's sleeve notes "was planned in honor of the three main sources that have enriched Hindustani music: the folk tradition, the singer-saints of Islam and Hinduism, and the caste/guild of courtesans and dancing girls derived from the cults of the Goddess." Excellent musicianship combined with an intriguing and unusual repertoire to make this a fascinating project. - Ken Hunt |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Sat May 10, 2008 8:22 am |
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L. Shankar
Raga Aberi
Music Of The World, 1995
1.-8. Ragam Aberi
L. Shankar - violin
Zakir Hussain - tabla
T.H. "Vikku" Vinayakaram – ghatam
| Quote: | | 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. |
| Quote: | 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/archives/2001/3-4/19_l_shankar.shtml and
http://worldmusiccentral.org/artists/artist_page.php?id=513
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Sun May 11, 2008 3:23 am |
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Not Indian strictly speaking, but based on North Indian raga music:
Homayun Sakhi
The Art of the Afghan Rubab. Music of Central Asia Vol.3
Smithsonian Folkways SFW CD 40522, 2006
1. Raga Madhuvanti
2. Raga Yaman
3. Kataghani
Homayun Sakhi - rubab, vocals
Ghulam Bahauddin - tanbur
Rahim Takhari - ghijak, dutar, vocals
Muhammad Wali Nabigul - tabla
| Quote: | | 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. |
Flac, including full booklet
| Code: | http://rapidshare.com/files/112792550/HS-TAotAR.part1.rar
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Mon May 12, 2008 7:06 am |
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One more album of Afghani raga-based music:
Aziz Herawi
Master of Afghani Lutes
Arhoolie CD 387, 1992
Naghmaha-Ye Klasik in Rag Beiru
01. Jhaptal/Dadra
02. Kaharwa
03. Kaharwa/Dadra
04. Charbeiti Kaharwa
05. Kaharwa/Dadra II
Instrumentals on Dutar
06. Aushari
07. Naghma I
08. Mahali I
09. Khandan-E Amaturi I
10. Khandan-E Amaturi II
11. Khandan -E Amaturi III
Instrumentals on Rebab
12. Naghmaha-Ye Klasik in Rag Pari
13. Naghmaha-Ye Klasik in Rag Pilu
14. Mahali II
15. Mahali III
16. Naghma II
17. Naghma III
Aziz Herawi - dutar (1-11), rebab (12-17)
Ghulam Abbas Khan - tabla
Omar Mojaddidi - zirbaghali (15)
Azim Mojaddidi - daira zangi (tambourine)
Anayat Habibi - daira zangi
| Quote: | | These splendid performances on the long-necked, 14-string duhar and short-necked rebab (both backed by tabla) reflect the increasing Indian influence on Afghan music. Though Herawi is from Herat, a musical center that once had strong Persian connections, his playing is based on Indian ragas rather than older Afghan maqam, and the tabla playing is also strongly Indian. ~ John Storm Roberts |
| Quote: | | An expatriate Afghani currently living in California, Herawi calls himself an amateur musician but is actually a rare performer of the traditional music from the Herat valley in western Afghanistan. As its geography suggests, this area's music is a blend of Persian and Hindustani instruments and styles. The pieces have the varied rhythms of the Hindustani raga forms, but are fairly short (3 to 5 minutes each) and more intense than much Hindustani music. In addition, their melodies are based on the even-tempered 12-tone octave that in recent decades has overtaken the traditional Persian system of microtonal variations. He plays the 14-string dutar, a long-necked lute, and the rebab, a short-necked lute, accompanied by tabla, frame drum, and tambourine that provide a vigorous and dry rhythm for his robust strumming. Herawi's strength is the energy and spontaneity of these instrumental pieces. Rather than refinement or cerebral meditation, there is a healthy share of earthy melodies and passion. - Dan Maryon |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Wed May 14, 2008 6:18 am |
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Aashish Khan
Golden Strings of the Sarode
Moment Records, 2005
1. Raag Lalita Gouri - Alaap
2. Raag Bhimpalashree - Gat Jhaptal
3. Raag Mishra Bhairavi - Gat Dadratal
Aashish Khan - sarod
Zakir Hussain - tabla
| Quote: | | For this intimate yet scintillating, Grammy-nominated duet, Aashish Khan, son of the legendary Ali Akbar Khan and a brilliant sarode virtuoso, is heard with percussionist, producer, and composer Zakir Hussain, who has not only taken his ancestral tabla drums into the 21st century, but is a noted classicist with an impressive pedigree of his own. His famous father, Ustad Alla Rakha, working with sitar master Ravi Shankar, was largely responsible for bringing Indian classical music to Western ears during the 1960s. Together, the two younger men explore and expand the perimeters of their respective instruments. Invented in the 17th century, the fearsomely demanding sarode (sarod-dhayak-vina in sanskrit) is made of teak wood with a fretless steel fingerboard, resonating goat skin belly, and 25 metal strings variously employed for drone, rhythm, and melody. The term tabla actually refers to a pair of drums; the smaller dayan is played with the right hand while the larger bayan is played with the left. The three raags that make up the recital are, as is typical of this type of music, are associated with different times of day. Bhimpalashri, meant for the afternoon, is gently but not passively melancholy. Lalita Gouri captures the lingering fires of sunset, while Bhairavi is redolent of fragrant night shadows, romantic longing, and the eternal feminine. - Christina Roden |
| Quote: | | On this Grammy-nominated album, the sons of famous fathers carry on the important tradition of North Indian classical music, applying their virtuosic talents to three traditional raags. Aashish Khan, like his father Ali Akbar Khan, is a master of the 25-stringed sarode, a challenging sitar-like instrument. Zakir Hussain--son of celebrated tabla player Ustad Alla Rakha--is himself a gifted tabla player. The two musicians play together so seamlessly, it is like listening to inspiration itself. |
A unique co-production with Meyer Sound, this extraordinary CD presents Aashish Khan, one of the foremost sarodists of our time. The eldest son of Maestro Ali Akbar Khan, he here presents both rare and popular raags, described in his own words in authentic and moving liner notes. He is joined by his musical colleague Zakir Hussain, with whom he has enjoyed 30 years of making music. Moment Records is proud to present this audiophile-quality recording.
| Quote: | Aashish Khan Debsharma (born December 5, 1939) (popularly known as Ustad Aashish Khan) is an eminent Indian classical musician, known for his virtuosity on the Sarode. He was nominated for a Grammy Award in 2006 in the 'Best World Music' category for his album "Golden Strings of the Sarode". He is also a recipient of Government of India's highest honour in performing arts, the Sangeet Natak Akademi Award. Besides being a high-profile performer, composer, and conductor, he is also an adjunct professor of Indian classical music at the California Institute of the Arts, and the University of California at Santa Cruz, in the United States.
Aashish Khan is a representative of a family of great classical musicians of India. His grandfather Ustad Alauddin Khan, a singular phenomenon in the twentieth century Indian classical music, and founder of the "Senia Maihar Gharana" or "Senia Maihar School" of Indian classical music; was called with reverence as "Baba" (or Father) by his fellow maestros and students. His father Ustad Ali Akbar Khan is a distinguished Sarode player. His aunt Annapurna Devi is a Surbahar player and former wife of sitar legend Ravi Shankar.
Aashish Khan was born in 1939 at Maihar, a small princely state of British India, where his revered grandfather Ustad Alauddin Khan was a royal court musician at that time. His mother the late Zubeida Begum was Ustad Ali Akbar Khan's first wife. He was initiated into North Indian classical music at the age of five by his grandfather. His training (or taalim) later continued under the guidance of his father Ustad Ali Akbar Khan, and his aunt, Annapurna Devi. He is one of the most notable disciples of his grandfather Ustad Alauddin Khan, and the foremost disciple of both his father Ali Akbar Khan and aunt Annapurna Devi. Though the music school they represent is popularly known as "Senia Maihar Gharana"; it is essentially the traditional "Senia Gharana". (The founder of this "Senia Gharana" or "Senia School" is believed to be the legendary court musician of Mughal Emperor Akbar Mian Tansen. And the "Senia Gharana" is undoubtedly the one and only root of all styles of Indian classical music.) "Senia Maihar Gharana" follows the traditional "Beenkar" and "Rababiya" pattern of the "Dhruvapada" style of the original "Senia Gharana". However, followers of the "Senia Maihar School" tradition have principally been responsible for a renaissance in Indian classical instrumental music in the twentieth century.
Aashish Khan grew up in Maihar and Calcutta performing Indian classical music among distinguished circles of connoisseurs. He gave his debut public performance at the age of 13, with his grandfather, on the All India Radio "National Program", New Delhi, and in the same year, performed with his father and his grandfather at the "Tansen Music Conference", Calcutta. Since then he has performed at major venues of classical music and world music both in the Indian subcontinent and at abroad with great applause. Besides his virtuosity as a traditional Sarode Ustad Aashish Khan is also one of the pioneers in the establishment of world music genre, as founder of the Indo-American musical group "Shanti" with tabla player Ustad Zakir Hussain in 1969, and later, fusion group, "The Third Eye". In "Shanti", AAshish Khan is featured playing the acoustic Sarode sometimes through a fender guitar amplifier with vibrato effect.
Under Pandit Ravi Shankar, he has worked as a background artist on musical products for both film and stage, including Oscar Winner Satyajit Ray's Apur Sansar, Parash Pathar, Jalsha Ghar, and Sir Richard Attenborough’s film Gandhi. He has also worked as a background artist with Maurice Jarre on John Huston's film The Man Who Would be King, David Lean's A Passage to India, and composed the music for Tapan Sinha's films, Joturgriha (he received Best Film Score Award for Jotugriha) and Aadmi Aurat.
During 1989-1990, Aashish Khan served as the Composer and Conductor for the National Orchestra of All India Radio, New Delhi, India, succeeding musical stalwarts like Sitarist Pandit Ravi Shankar, and flautist Pandit Pannalal Ghosh.
Aashish Khan has pioneered in the art of collaborating Indian classical music with western music, and world music. He is thus remembered by the music fraternity as one of the foremost representatives of Indian classical music in the Western world. He has collaborated with such diverse western musicians as John Barham, George Harrison, Ringo Starr, Eric Clapton, Charles Lloyd, John Handy, Alice Coltrane, Emil Richards, Dallas Smith, Don Pope, Jorge Strunz, Ardeshir Farah, and the Philadelphia String Quartet. Ustad Aashish Khan is currently co-leading "Shringar" with Andrew McLean and other notable New Orleans musicians such as Tim Green and Jason Marsalis. Shringar is the first foray of any classical Indian musician into the music culture of New Orleans, widely considered the Mecca of Jazz. His recordings include Wonderwall Music, Young Master of the Sarode, California Concert, Sarode and Piano Jugalbandi, Shanti, Live at the Royal Festival Hall London, Homage, Inner Voyage, Monsoon Ragas, The Sound of Mughal Court, and the latest, Jugalbandi Sarode & Sarangi Duet, with Ustad Sultan Khan.
Aashish Khan is a music teacher, currently serving as adjucnt professor of Indian Classical Music at the California Institute of the Arts, Los Angeles, U.S., and as an adjunct professor of Music at the University of California at Santa Cruz, United States. He has formerly taught at the faculties of the Ali Akbar College of Music in San Rafael, California, University of Alberta in Canada and the University of Washington, Seattle. While pursuing a busy career as a concert artist and composer, he teaches students throughout the U.S., Canada, Europe, and Africa, as well as India. Many of his students have established themselves as stage performers in India and abroad. Notable mention among them would be of Sarode players Rick Henderson, Debanjan Bhattacharya, Aditya Verma, Ranajit Sengupta; Sitar player Amelia Maciszewski; Santoor player Dishari Chakraborty; and Rabab player Rishi Ranjan.
He presently divides his time principally between Calcutta, and California, where most of his students and disciples are located.
He is the recipient of several distinguished honours in recognition of his excellence in Indian classical music and world music as well. He has been awarded, among many, the Fellowship of the Illinois Arts Council, U.S. in 2002, and India's highest award for performing arts, i.e., the Sangeet Natak Akademi award in 2005. In 2006, he was nominated for a Grammy award in the 'Best World Music' category. He is one of the very few celebrated Indian musicians who have been nominated for this award (other Grammy nominees and/or winners include Sitar maestro Ravi Shankar, Sarode maestro Ali Akbar Khan, and Guitarist Vishwa Mohan Bhatt; all are from "Senia Maihar Gharana"). Among Sarode maestros, he is second to only his father Ustad Ali Akbar Khan who earlier received Grammy nominations. On May 24, 2007 Ustad Aashish Khan became the first ever Indian classical maestro to become a Fellow of the Royal Asiatic Society of Great Britain and Ireland, the U.K.'s highest society in Asian arts and culture. Several Indian medias have also declared that Ustad Aashish Khan is "India's greatest living Sarode player".
In September 2006, He announced at a press conference in Calcutta that since his forefathers were Hindu Brahmins of the East Bengal, and held the surname "Debsharma", he would also wish to use his forefathers' surname to help people understand the root of his great musical lineage. He also stated that his family were never officially converted into Islam and not necessarily Khan means a Muslim. He depended on fact that his grandfather the late Ustad Alauddin Khan himself said in his biography (Aamar Katha, (Bengali), published by Ananda Publishers, Calcutta) that his forefathers were indeed Hindus and holders of the surname "Debsharma". He also said that his name (Aashish), his brothers' names (Dhyanesh, Pranesh, Amaresh) were all given by their grandfather Alauddin; and all these are essentially Hindu names. However, his father has rejected Aasish's claims as fallacies. An anguished Ali Akbar Khan told Times of India in an e-mail from the US where he has settled, "I do not support his (Aasish's) choice. Unfortunately, many statements made by my son in the newspaper regarding the history of my family are incorrect. My family has been Muslim for many generations, and we will remain Muslims. It's a shame that he is trying to reinvent the history of our family and in turn hurting past generations of our family." |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/113691817/AK-GSotS.part1.rar
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Thu May 15, 2008 6:21 am |
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One more album from stakadush's collection:
Wajahat Khan
Quintet For Sarod And String Quartet
Koch Schwann 3-6996-2, 2000
Quintet for Sarod and String Quartet - Raga Desh
Medici String Quartet
1. I. Prayers of Love
2. II. Monsoon Memories
3. III. Romantic Journey
4. IV. Celebrations
Raga Shivranjani - Sarod Solo
5. I. Alap
6. II. Jor & Jhala
| Quote: | Ustad Wajahat Khan is an accomplished composer and has led numerous successful world music collaborations in Indian classical, jazz, flamenco, rock, and Western classical. He has written orchestral and chamber scores for Western as well as Indian instruments working with renowned soloists and ensembles including two sarod concertos and an award winning quintet for sarod and string quartet.
This extraordinary collaboration of Indian and Western Classical music is written and performed by Wajahat Khan. The highly acclaimed work was premiered at a sold out Wigmore Hall in London to a standing ovation with the one of the UK's leading international ensembles, the Medici String Quartet. It has also been performed with other renowned international quartets such as the Ciurlionis Quartet. Wajahat Khan has performed this work at prestigious venues and festivals including the Megaron (Athens), the Sage Gateshead (UK) and the festivals of Bath (UK), Vilnius (Lithuania), Geneva (Switzerland) and Istanbul (Turkey). The recording release has also received rave reviews globally. |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Fri Jul 11, 2008 7:56 am |
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Nasir Zahiruddin & Nasir Faiyazuddin Dagar
Baithak Series Live Vol.1
Sangeet Kendra, SK 008, 2004
Raga Bhatiyar
1. Vilambit Alap
2. Madhyalaya Alap
3. Drut Alap
4. Dhrupad
320 kbps including full booklet scans
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Fri Jul 11, 2008 7:56 am |
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Nasir Zahiruddin & Nasir Faiyazuddin Dagar
Baithak Series Live Vol.2
Sangeet Kendra, SK 009, 2004
1. Raga Hindol - Alap
2. Raga Hindol - Bandish Chautal
3. Raga Lalit - Alap
4. Raga Lalit - Bandish Chautal
5. Raga Bilaskhani Todi - Alap
6. Raga Bilaskhani Todi - Bandish Chautal
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/128705870/Z_FD-BS2.part1.rar
http://rapidshare.com/files/128706622/Z_FD-BS2.part2.rar |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Fri Jul 11, 2008 7:57 am |
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Nasir Zahiruddin & Nasir Faiyazuddin Dagar
Baithak Series Live Vol.3
Sangeet Kendra, SK 011, 2004
1. Raga Shuddh Sarang - Alap
2. Raga Shuddh Sarang - Dhrupad
3. Raga Kedar - Alap
4. Raga Kedar - Dhrupad
5. Raga Des - Alap
6. Raga Des - Dhrupad
320 kbps including full booklet scans
| Code: | | http://rapidshare.com/files/128710595/Z_FD-BS3.rar |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Fri Jul 11, 2008 7:58 am |
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Nasir Zahiruddin & Nasir Faiyazuddin Dagar
Baithak Series Live Vol.4
Sangeet Kendra, SK 010, 2004
Raga Lalita Gauri
1. Vilambit Alap
2. Madhyalaya Alap
3. Drut Alap
4. Bandish Chautal
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/128715613/Z_FD-BS4.part1.rar
http://rapidshare.com/files/128715970/Z_FD-BS4.part2.rar |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Fri Jul 11, 2008 7:58 am |
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Nasir Zahiruddin & Nasir Faiyazuddin Dagar
Baithak Series Live Vol.5
Sangeet Kendra, SK 020, 2004
Raga Deshi
1. Vilambit Alap
2. Madhyalaya Alap
3. Drut Alap
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/128720650/Z_FD-BS5.part1.rar
http://rapidshare.com/files/128723893/Z_FD-BS5.part2.rar |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Fri Jul 11, 2008 7:59 am |
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Nasir Zahiruddin & Nasir Faiyazuddin Dagar
Baithak Series Live Vol.6
Sangeet Kendra, SK 021, 2004
1. Raga Deshi - Bandish Dhamartal
2. Raga Sohini - Alap
3. Raga Sohini - Bandish Chautal
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/128728182/Z_FD-BS6.part1.rar
http://rapidshare.com/files/128729063/Z_FD-BS6.part2.rar |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Sat Jul 12, 2008 7:05 am |
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Anindo Chatterjee
Anindo & His Tabla
Audiorec ACCD 1016-7, 1995
1. Tal Nasruk
2. Ektaal (8.5 Beats)
3. Pravh & Laggi
4. Dharmar
5. Teentaal
6. Pancham Sawari
Anindo Chatterjee - Tabla
Ramesh Misra - Sarangi
| Quote: | Anindo Chatterjee started studies at the age of five under Ustad Afaq Hussain Khan of Lucknow gharana and then had thirty years of training under the famed Pandit Jnan Prakash Ghosh. Today, Anindo leads his generation of representatives of the Farrukhabad Gharana of tabla founded by Haji Vilayat Khan Sahib. Anindo apart from being one of the greatest performers is respected as one of the most important tabla makers, teachers and researchers . Anindo's performances are marked by clarity of tone, very crisp and clear bols and an intutive sense of rhythm and melody.
Since 1972, Anindo has performed solo as well as accompanied leading artists all over the world. Among those who he has accompanied are Pandit Nikhil Banerjee (sitar), Pandit Buddhadev Das Gupta (sarod), Ali Akbar Khan (sarod), Pandit Mallikarjun Mansur (voice), Budhaditya Mukherjee (sitar), Ustad Rais Khan (sitar), Gangubai Hangal (voice), Pandit Hariprasad Chaurasia (flute), and Pandit Shivkumar Sharma (santoor) among many others.
Anindo's knowledge of various tabla gharanas and their styles knows no bounds and he is a dedicated teacher as well. Many of his students have achieved national and international recognition. Among them are Bhooshan Munja, Anindo Gangopadhyay, Sanjay Jhalla and Anil Datar. |
| Quote: | | Anindo Chatterjee is recognized as one of India's most eminent tabla players. He was inspired to take up tabla by his uncle, the sitar player Pandit Biswanath Chatterjee, when he was just four years old. At five he was All India Radio's youngest artiste. At six Anindo became a disciple of Padmabhushan Gyan Prakash Ghosh, and studied with him for over twenty years. Gyan Prakash Ghosh was well known for his extensive knowledge of all tabla gharanas, as well as his own Faroukhabad gharana. His guidance gave Anindo's art a firm foundation. As an accompanist, he is known for his sense of balance and proportion, crisp tonal quality, modulation of sound production and rapport with soloists. Anindo has accompanied all of the top musicians and has toured with them all over the world. He has received numerous honors including Presidents Award in 1970. Anindo was the first tabla player to perform in the House of Commons in 1990. |
192 kbps, no booklet!
| Code: | http://rapidshare.com/files/128837913/AC-A_HT.part1.rar
http://rapidshare.com/files/128838928/AC-A_HT.part2.rar |
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| Classical and Folk Music from India (non-Bollywood!) rapidshare | |
| Posted: Sat Jul 12, 2008 7:05 am |
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Vidur Mallick
The Lyrical Tradition of Dhrupad 1
Makar Records MAKCD 002, 1994
Rag Bhairagi Bhairav
1. Alap
2. Dhrupad
3. Dhamar
4. Sulfatal
5. Rag Nand - Dhamar
6. Rag Sahana Kanra - Dhamar
7. Rag Bhairavi - Jhaptal
Anand Kumar Mallick - pakhawaj
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/128884759/VN-TLToD1.part1.rar
http://rapidshare.com/files/128887659/VN-TLToD1.part2.rar |
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