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Film Songs Based on Classical Ragas (6) – Desh and Tilak Kamod ...

Film Songs Based on Classical Ragas (6) – Desh and Tilak Kamod ... | CLASSICAL SONG -ghazals | Scoop.it
Aayee ritu sawan ki by Kumari Faiyaz and Bhupendra from Alaap (1977), lyrics Dr Rahi Masoom Raza, music by Jaidev. Bhupendra has been among the most underrated singers of the Industry. His voice can really haunt, ...
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Faiz Ahmed Faiz & Qazi Nazrul Islam - 'Hum ke thehre ajnabee' & 'Money pode aaj shay kon'

Faiz Ahmed Faiz & Qazi Nazrul Islam - 'Hum ke thehre ajnabee' & 'Money pode aaj shay kon'

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holi songs

holi songs | CLASSICAL SONG -ghazals | Scoop.it

So our tradition of playlists on Holi continues. The above is still a work in process and I had meant to arrange it properly and link other versions and then post with more details and notes on the early 1900s songs of Gauhar Jan and Mohammad Bandi, but a Twitter hashtag #HoliBaithak started by P1J and @namrata_joshi has resulted in this rushed playlist.

I haven't yet included any of the many wonderful songs posted by others, but one tweeted by @uttaras desfinitely deserves to be included:

Kumar Gandharva's Rang Na Daro Shyamji

For previous playlists, just follow the tag Holi at the bottom of this post. I will try and include those also in the above updated list, as some of the musicindiaonline links seem to have changed.

Gauhar Jaan: 1905: Alwar ke Kanhaiya...Raag Sindh Kafi, Hori
Gauhar Jaan: 1905: Mere Husraat ne Madeene mein manayi Holi...
Mohammad Bandi Holi (Hori) 1907
Achhan Bai (Achhanbai) Song Holi 1910
Achhan Bai (Achhanbai) Sings Holi in Rag Kafi 1910
Indubala - na maro pichkari Old Indian Hindi Song Music
K L Saigal holi| main jo dinan ki thori by ambindia
K L Saigal holi 2 | jin jao gori aaj paniya bharan by ambindia
Begum Akhtar: Holi Khail'an Kaisay Ja'un.
Shobha Gurtu - Main to kheluungii
Shobha Gurtu - Hori Khelan Kaise Jau
Shobha Gurtu - Dadr- Rangi Saari Gulabi
Shobha Gurtu - Kesariya Rang Daro
Koushik Bhattacharya - Rangi Saari Gulabi
Birju Maharaj - Kanha Khelo Kahan Aise Hori
Sitara Devi - Bansi Bachawat
Lata - Meerabai - Kinu sang khelu holi
Geeta Dutt - Baat Chalat
Rafi- Baat Chalat
Shafqat Ali Khan - Baat Chalat - Tribute to his father Salaamat Ali Khaansaheb
Girija devi - udat abeer gulal ( holi song )
Girija Devi: Tum To Karat Barjori, Raag Kafi, Hori
Aabida Parveen - Aaj piya holi khelan aaya
Surendra Kumar - Mein To Khaloon Unhi Sang Holi Goiyan- Kajri
Surendra Kumar - Phagun Aaeyl Re Ude Rang Abir Gulal - Kajri
Surendra Kumar - Main To Kheloo Unhi Sang Holi
Ustad Rashid Khan - Raag Basant
Pandit - Bhimsen Joshi - Raga Basant - Bandish In Teental - Fagawa Brij Dekhan Ko
Chhannulal Mishra: Khelein Masane Me Hori [Suggested also by Namrata Joshi]
#1 to 6 are special as they are both from the first decade of 1900s. Indubala, Mohammad Bandi and Achhan Bai were contemporaries of the legendary Gauhar Jaan, prima donna of early recordings of Indian music, about whom of course much has been written and said lately.

P1j suggested an Asha Bhosle companion song to #15, Lata's Meera bai: Kaa Sang Kheluun Phaag

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FILED IN: HOLI|MUSIC
POSTED BY SUNDEEP ON MAR 19, 2011 AT 23:29 IST
Naa Maaro Pichkaari...

Continuing with our Holi playlist of last year, here are some more songs in celebration:

Nirmala Devi: Naa Maaro Pichkaari
Indubala: Naa Maaro Pichkaari
Gangubai Hangal: Hari Khelat Brij meN hori
Shobha Gurtu: Holi Khelan Kaise Jaoon
Pt. Birju Maharaj: Kanha Khelo Kahan Aise Hori
Girija Devi: Piloo Hori , Aisi Hori Na Khelo
Girija Devi - aankhin bharat gulal
Pt Ajoy Chakraborty: Aaj Phagua Me Hori Machi Hai
Sunderabai: Hori Khele Mose Nandlal
Sandipan Samajpati - Kaise Ke Kheloon Hori

Jahangir Celebrates Holi. A single folio from the Minto Album. Artist unknown, c. 1635. Colored pigments and gold on paper. [Photo: © The Trustees of The Chester Beatty Library, Dublin]

Earlier playlist:

s.n. ratanjankar -des- hori khelan ko chale Kanhaiyyaa
faiyyaz khan - des- dhamar talaa -- aaj hori khelat
gangubai hangal - basant - piya sang kheluuN hori
Kesarbai kerkar - khamaj - ye shyaam mose khelana holi
kesarbai kerkar - kafi - ab to khel le phaag
hirabai barodekar - hori - holi khelo mose
senior dagar brothers, n. moinuddin and n. aminuddin - kafi - kesara ghar ke ranga
siddeshwari devi -kafi - udat abir gulaal
k.l. saigal - kafi- ho brij raaj dulaare
girija Devi: piloo hori , Aisi Hori Na Khelo
girija devi - holi khelo mose nandalala
girija devi - mishra gara - udat abir gulaal
shobha gurtu - gara - main to un sang khelungi hori
shobha gurtu - raga pilu - hori khelan kaise jauuN
shobha gurtu - aaj biraj meN hori hai rasiya
shobha gurtu - dadra - rangi sari gulabi chunariya
chhanu lal mishra - rang darungi
(his album holi ke rang tesu ke phool is available as a podcast here)
shubha mudgal - khele rahe rang holi
abdul karim khan - phagwa braj dekhan ko chal di

Radha celebrating Holi, c1788. (digitally enhanced version) Kangra, India. c1788
Source: Victoria Albert Museum

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FILED IN: FESTIVALS|HOLI|MUSIC
POSTED BY SUNDEEP ON MAR 01, 2010 AT 18:07 IST
Holi: Aaj Rang Hai

A playlist

s.n. ratanjankar -des- hori khelan ko chale Kanhaiyyaa
faiyyaz khan - des- dhamar talaa -- aaj hori khelat
gangubai hangal - basant - piya sang kheluuN hori
Kesarbai kerkar - khamaj - ye shyaam mose khelana holi
kesarbai kerkar - kafi - ab to khel le phaag
hirabai barodekar - hori - holi khelo mose
senior dagar brothers, n. moinuddin and n. aminuddin - kafi - kesara ghar ke ranga
siddeshwari devi -kafi - udat abir gulaal
k.l. saigal - kafi- ho brij raaj dulaare
girija Devi: piloo hori , Aisi Hori Na Khelo
girija devi - holi khelo mose nandalala
girija devi - mishra gara - udat abir gulaal
shobha gurtu - gara - main to un sang khelungi hori
shobha gurtu - raga pilu - hori khelan kaise jauuN
shobha gurtu - aaj biraj meN hori hai rasiya
shobha gurtu - dadra - rangi sari gulabi chunariya
chhanu lal mishra - rang darungi
(his album holi ke rang tesu ke phool is available as a podcast here)
shubha mudgal - khele rahe rang holi
abdul karim khan - phagwa braj dekhan ko chal di
with a big thanks to rajan p. parrkar's excellent pages at sawf, musicindiaonline.com and patrick moutal's indian music page.

note: hirabai barodekar is the only song that you'd have to download; the rest would play from your default real player

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hum dono do premi-Flute version.mp3 - DivShare

DivShare is the leader in professional document and media sharing.
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Bhupinder and Shabana Azmi sings 'Gulaab jism ka yunhi nahin khila hoga'

' Gulaab jism ka yunhi nahin khila hoga' sung by Shabana Azmi and Bhupinder Singh for Muzzafar Ali's Anjuman.This rare duet has been composed by Khaiyyam and...
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Ustad Bismillah Khan - Raag Malkauns

late maestro of Shanai play raag malkauns with party (Check this video out -- Ustad Bismillah Khan - Raag Malkauns http://t.co/qQ3SYwiK via @youtube...)...
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Film Songs Based on Classical Ragas (6) – Desh and Tilak Kamod

Film Songs Based on Classical Ragas (6) – Desh and Tilak Kamod | CLASSICAL SONG -ghazals | Scoop.it
Guest article by Subodh Agrawal (Subodh returns, after some gap, with an outstanding article on Desh and its close variant, Tilak Kamod.  Some of the most iconic songs, such as ‘Dukh ke ab din b
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Chonani Dar Nazar Nazaar-e-Gaaran

Chonani Dar Nazar Nazaar-e-Gaaran Poetry : Hazrat Amir Khusrau Singers: Shubha Mudgal (India) Mahsa Vahdat (Iran)
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http://www.indianexpress.com/oldStory/28425/

Raga Kedar
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Renuka Narayanan
Posted: Jul 28, 2003 at 0000 hrs IST

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Shiva as Kedar Nath is Lord of the deep silence, of serious contemplation. Raga Kedar, named after him, is among our oldest ragas sung between 9 pm and midnight. Whoever created it was clearly blessed with a superior musical intelligence and a receptive heart that beat defenselessly to the powerful vibration of Onkarnaad. Kedar, which rejoices in the beautiful name Hamir Kalyani in the Carnatic system, is a profoundly abstract raga, not easily “visualised”. The medieval Ragamala paintings depict Kedar as a young ascetic “beauteous in every limb”, his face luminous with a spiritual glow, his body smeared with ashes, doing penance before Shiva. Scholars would know better, but if ever a mudra assigns itself to Kedar it would be the “chhinn mudra”, of forefinger and thumb meeting to form a pointed antelope’s head: The mudra of cosmic search frequently depicted on Sakyamuni by sculptors and painters.

Music vidwans say that going by 17th century musical treatises, Kedar (which had a somewhat different structure in its medieval avatar) was one of the main ragas in the repertoire of Mughal musicians. Learning this, the mind leaps joyfully to appreciate composer Naushad Ali’s intelligence in Mughal-e-Azam, using Kedar for Shakeel Badayuni’s heart-melting song Bekas pe karam keejiye Sarkar-e-Madina. Perhaps one of the best-known bhajans in modern India is poet G.S. Nepali’s Darshan do Ghanshyam Nath, mori akhiyan pyaasi re, from the film Narsi Bhagat, sung by Hemantda, Manna Dey and Sudha Malhotra — and set in Kedar by composer Ravi. Other national favourites seem to include Hamko man ki shakti dena from Guddi and Aap yun hi agar humse milte rahen, dekhiye ek din pyaar ho jayega from Ek Musafir Ek Hasina: as lovesongs go, the last is very sweetly sober, isn’t it?

Kedar finds expression in just about every song form, be it dhrupad, khayal, thumri or bhajan. (Pandit Bhatkhande’s Hindustani Sangeet Paddhati seems to classify four variations on Kedar: Shuddha Kedar, Chandni Kedar, Maluha Kedar and Jaladhar Kedar).

At an another level, Kedar’s Sanskrit meanings, I’m told, are ‘Mountain Lord’ and ‘Powerful’. But I find that many Muslims instinctively say ‘Qadir’ instead of ‘Kedar’. Qadir is one of Allah’s Names. Curious as ever, I looked it up and was thrilled by the consonance. Qadir means ‘samarth’ or One Who Can Do Anything. Another way of saying ‘Powerful’? Moreover, Kedar as the silent young ascetic connects with the Beatles’ Fool on the Hill, who sees the world spinning round in total silence, who never seems to answer. But in his silence, he knows what he knows. He hears God’s voice. Many feel that Raga Kedar let us hear it, too.

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The Enigmatic World of Mukul Shivputra by Chinmoy Khaladkar ji

The Enigmatic World of Mukul Shivputra by Chinmoy Khaladkar ji | CLASSICAL SONG -ghazals | Scoop.it

The Enigmatic World of Mukul Shivputra

For a long time I wanted to write a perspective about Mukul Shivaputra’s art and the evocative world which he creates. I have been listening to him since 1987 when I was a teenager and just started listening (seriously) to Indian Classical Vocal. Perhaps I can safely say that I was one of the many witnesses who witnessed his evolution as an artist. Mukul and I have known each other for many years now and hence I can also say that I have had a glimpse in an enigmatic world of an artist. He has been rather generous in opening this window for me and many of his other friends. It is necessary to share this information. However being a friend of an artist of his calibre, I may not be as dispassionate as I would like to be. I hope that the readers will pardon me for the same.

Now let us first start with some mundane things. Mukul was born in 1956, He received an impeccable Talim from Kumarji. He also learnt rudiments of Dhrupad from K.G.Ginde. He also went and learnt with Deodhar Guruji. He learnt Carnatic Vocal from no less than M.D. Ramnathan. He learnt Pakawaj from Arjun Shejwal. He learnt Sitar by himself and plays the same very delicately. He also picked up many languages. Kannada was the mother tounge. Mallyali as his male dai (Kanna) was a keralite. He knows Hindi, Malwi, Brajbhasha, etc but he studied Sanskrut systematically. He also studied philosophy.

His esoteric art as on today is a combination of these facets. He is a composer par excellence. The readers may have only known him as a composer of his own compositions in “SOTA”, but I have also seen his other Sanskrut compositions. He is the only person to compose a Sanskrut hymn on ArdhaNariNateshwara after Aadi Shankarachrya. The composition is so difficult that it took me couple of months to understand its philosophical implications and the imagery. (This is despite the fact that I am proficient in Sanskrut ). He has a deep study of philosophy and history. I need not tell the readers about his penetrating intellect. Like Kumarji, he is a classicist by training, an innovator by temperament, a poet by feeling and a thinker by inclination. It is this clash (and not a synthesis) of these identities which symbolizes his Gayki.

But still how would one gauge the world of an artist like him? This is the question and the problem also.

Let me start with a methodological problem first as it is very difficult to write about Indian Classical Music. Life of an Indian classical musician has never been easy to document under the best of the circumstances. There are several reasons for it. Main is the nature of the art itself. Indian Music is a largely a process than a finding. It does not conclude at any stage. It is difficult also to scholasticise the art without forfeiting its essence. It has several social values and inherited paradigms in it which do not belong to the art but to the society in which it lives. This poses another formidable aspect. It is because of the very nature of the art itself, a nimbus of unreality always hovers over the lives of Hindustani Classical Musicians. After passing of the musician, it takes on a muted glow of a fable. This is because of the nature of Raga itself........ The way the Ragas of Indian musical inheritance are ordered and the way they play their part in Hindustani Classical Music. For the artists, The Ragas are organic entities. They are alive. They are to be invoked. They are never static. They grew and reborn every time any one sang them. And that power of regeneration that lay hidden in the scales of the Ragas was the mysterious fire of their inner life also. They have a certain kind of life in them. So that inheritance of the Ragas is not a science or art for they being alive, transcend both the art and the science.

Hindustani Classical musicians always live their lives almost submerged in the world of Ragas. Now if one examines their lives exclusively along their lengths, in the realm of sequence alone, the meaning of their lives is vastly diminished. It is in the breadth of time that these lives are best measured for it is there that meaning is deepened and subtly layered across each life. Measures of a linear passage are meaningless in the life of a musician who lives with certain timelessness as part of the calendar of his existence. It is in this perspective, that the historical part of a Hindustani Classical Musicians life is trivial and inconsequential in the context of the inner journey which is the true content of a man. It is like one can see the end of glacial age when the ice is said to retreat into streams, rivers and oceans and the covered land stands revealed freshly shaped and sculptured ready once again to unfold a new history and a new mystery.

Mukul is a distilled essence of our parampara which is there since many hundred perhaps thousand years. Unless you have a perspective (or the bird’s eye view) of the parampara and the perspective of the philosophy out of which this parampara has arisen, one will not be able to fully comprehend the basis of (his) art.

When he sang at my residence, I made a small introduction to various distinguished people who had gathered from all parts of India.

This is what I told them “आपण सर्व जन हे कार्यकारण भाव आणि कालानुक्रम या वर जरुरी पेक्षा जास्त भर देणार्या शिक्षण पध्हतिचे बळी आहोत . या पध्हतिला कलाकारांचे आकलन होत नाही .” we are always in the search of the “ turning point” or the” moment of enlightenment” in the lives of these artists. Unfortunately all the biographies of the yesteryear artists also confirm the same belief.

But how would one understand his art (or an artist’s art) with such a thinking process like ours? The answer is that your canvass as a listener has to be wide enough to assimilate and grasp the experience. The art of listening (even in everyday life about mundane things) seems to be at its nadir. Nowadays we have to make a conscious effort to hone this art in the otherwise noisy and fast world which hardly has time for anybody or anything.

In case of Mukul over the few years what I have noticed is that Mukul’s music constitutes (and gives us a glimpse of) only 10% of his personality and hence is unique.

Let us analyze a few of his concerts and his approach towards the music.

However his essential perspective of rendering a Raga is always that of distilled Kumarji. Unless first we understand what Kumarji’s approach was we will not be able to understand what evolution one can witness in Mukul’s Gayki.

Here is what Kumarji’s contribution to the world of Hindustani music was. (Taken from my another article which I had written about Kumarji):

It was Kumar who brought back Taanpura in Indian Classical. He pointed out to his listeners the pivotal role it plays in the very pith and grain of the Classical vocal. He made Tanpura perform a function that enables it to enhance tension, add piquancy and offer resolution. In the other words, in his world of Khayals, it is no longer rendered as a mere background accompaniment.

The most remarkable evolution was about Swara. Kumar actually realized that every swara was in principle a Shadja. This laid a foundation of a thought that this Shadja, as its name implies, had six different regions encapsulated within it. And with a relentless pursuit, Kumar was able to cultivate a vocal access towards all of these six regions. This imagination that to imagine every Swara of the scale as about an inch broad, the six regions within it and the realization that it is in this region that the elusive power of Swara resides was an extraordinary level of intellectual and musical intelligence. Even to be able to conceptualize existence of such a region within every note bears testimony to the aforesaid fact.(Nothing to do with Shrutis) We come to know of it when we hear him singing….that region just beneath his voice and those nearly inaudible intimations lurking within it that throbbed with life which is the essence of Swara.

That is how he knew every Swara. And then emerged an understanding of Raga. With this perspective towards Swara, Kumar always viewed a Raga as an organic entity having life of its own. He became aware that they are never static. They grew and were reborn every time when you sing them. You have to invoke them. And this power of regeneration lay hidden in the scales of the Ragas was their inner life. And then (must have) emerged the perception of the fact that how to embark on this journey of exploring the realm of Unknown with the help of 12 tangible Swaras.

Then came the Bandish. On this background, if we see any Kumar rendering after 1960s, it tells you about his mooring and an understanding of it as a lone factor having a nearly objective existence in the ocean of Ragas. He understood that the Bandish has always been in a certain sense given the impression as though it had merely happened. And it is because of this quality that the Bandish gives the feeling of becoming rather than a fully structured composition, a musical artefact. He perceived its tough, literary and musical core hidden like a filament; within a musical DNA that holds the Bandish as real as any objective.

In Kumar”s gayaki two different landscapes are seen; one is of the Raga, and the other is the lyrics of the Bandish. Both these landscapes are vital to his art. He never used all the techniques of expression and the vocal resources that he possessed to exhibit the command of the art but often restricted himself to the needs of the Khayal he was singing. At no time or occasion when he sang does the listener get the feeling that he has sung himself out of the Raga. He stops singing when he has said what he wants to say in that khayal, for that time. Kumar had always adopted the technique of telling you of the words of the lyrics of the Bandish while he is introducing Raga----- one word here, another there---- and let the composition begin to form, tasting the feeling of the Raga against each single word of lyric till a stage is reached when the entry of Tabla and beginning of singing of the Bandish seemed revelatory, like a prophesy.

This takes us to Laya. There were two main reasons for Madhya-Laya. One was the fact that it was completely natural (Naisargik) Laya. Second was that he considered the prevalent Vilambit and its pacing irrelevant for the musical content and the intentions of his Khyal .It was this belief that this Laya would be the key to open the throbbing universe of the chosen Bandish of the Khyal gave his rendering a different dimension altogether. His breath was also sufficient for his musical needs. The pauses were a waiting in order to make it sure that a lyrical and a musical idea which he wanted to convey had duly registered in the minds of his listeners. A silence was to show us as to what were his needs in the world he had chosen to create as well as the contours of his world at the point of time.

It is on this background; now let us see how Mukul has carved out his niche with the help of several concerts which he rendered over a last few years. It is only in last few years his approach seems to have crystallized his aesthetics.

In one of the concerts in Delhi in 2005, he sang Nayaki Kanada. The Raga has been extensively sung by the performers and been heard by us. Mukul’s portrayal was markedly different. The Bandish which he chose to sing Bada Khayal was an old one from Gwalior. A paramparik one. “Naina Nahi Mane” . Mukul showed as to how this Raga must have been originated. In other words, The Mula Strota (Mula Pravaha ) and the thinking process . How this raga has arisen out of the SARANG ang though it belongs to Kafi Thaat. He started his Aalapi and showed MEGH in avaroha. He showed MADHMAD SARANG in aaroha. He showed as to how these two combined in order to become a variant of SARANG known as BADHANS SARANG. Even by showing a fleeting Dhaivata otherwise completely alien to Nayaki) and taking this aalapi further he actually vocally showed the transformation of Khula Madhyam of SARANG into the Madhyama of Nayaki Kanada. As to how Ga MA Re Sa (Kanada Ang ) was incorporated in SARANG pravaha as to arrive at Nayaki Kanada. He even showed its Komal Gandhara in aaroha and its samvad with Madhyam and Komal Nishad in different manner than that of which we are accustomed to. The Jod he sang for Nayaki was Suha. Tu Hai Mohhmad Sa Darbar in Drut Ekatala. However he kept it distinctly away from Sughrai by showing Mukta Madhayam . His nyasa on the same and use of both the nishadas was an unusal Suha. He also sang Khambavati, Tilak Kamod and Kausi (popularly known as Jog-Kauns) which I will explain in detail later. But suffice to say that his thought process continued during the same.

In another concert he sang Shyam –Kalyan . He showed as to where exactly Kalyan becomes Shyam. It was in a novel manner he established the Teevra Madhyam of the Raga. He rendered three Bandishes. A Bada Khyala in RASIYA MHARA , Jod was a drut Ek Tala AISO TUMHI SAN and a drut Teen Tala SAWAN KI SANJH. Normally whatever Shyam-Kalyan that is heard or rendered by the performers goes like PaGa Ma Re Ni Sa, Ni Sa Re … what is actually shown is Kamod Ang in the same. It is sung or played as Shyam Kamod. Any recent recordings by almost all the artists bear testimony to this fact. Mukul in his rendering showed the hidden Gandhar with such a delicate swar lagava that Kalyan and its teevra Madhayam was established on the backdrop of the same. It showed an extraordinary sensitive Shyam Kalyan, which in fact is being tried to explore in this Kalyan by our Purvasuries.

His Kausi has always been delightful and it is not Jog-Kauns as rendered by all other artists. But there is an interesting tale which hangs by Kausi.

According to Kumarji, Jagannath Buwa (Buwa for short) concieved this delicate raag swarup on the backdrop of swaras which are related to Malkauns. He told it to Kumarji and sang the seed of conception when both of them met at Kolhapur. Kumarji requested him to compose the bandish and exclaimed it to him that this seed can flower only if there would be a bandish which would give an identity to the asfut (marathi word) rag swarup.

Thereafter Buwa composed Sughar Bar Payo and Peer parayee. He narrated this to Kumarji and also told him that he had a name i.e.Kausi in his mind for the aforesaid raag swarup. Kumarji did notation of this raga and rendered it for the first time in 1946 in the concert at the home of Aabasaheb Mujumdar.If the legend and the story as it goes is correct, then the first sum of the raga took the listeners by complete astonishment. Everybody was wonderstruck. There was curiosity about the raga.

However Kumarji took ill and was absent from the music scene from 1947 to 1952. In the interregnum, other disciples of Buwa requested him to teach this srujan to them. Various discussions took place and various opinions were formed. It was analyzed that it contained Jog and Malkauns or Chandrakauns . Hence it was named Jog Kauns. However the basic problem was different. All the gunijan including Buwa could not, perhaps, follow Kumarji’s prastuti (rendition) of the same. However, Buwa knew that whatever was rendered by Kumar was the Kausi which he had in mind. But it seems that he could not; perhaps render the seed of conception which he had conceived and told Kumarji.
When Kumarji appeared on the scene again , at around in 1952, Buwa requested him to render his creation. As the story goes, Kumarji was upset because he believed that people made Buwa believed that Kumarji would not rise to sing again because of his ailment and his creation would be lost forever. Kumarji also believed that this understanding led Buwa bifurcate his creation as Jog+Chandrakauns and it reached various disiples as Jog-Kauns.

Mukul told me that Kumarji was so upset with Buwa that he never sang it for Buwa. After Buwa’s demise,Kumarji used to sing this “Kausi” in the concert as Buwa conceived it. The compositions were same. Kumarji also composed a bandish which one is able to find in Anoop Raag Vilas. It was “See Seri Sehara”, later popularized more by Vasantrao Deshpande.

Kumarji’s explanation of Kausi to Mukul proceeds on different lines altogether, Kumarji told Mukul that Buwa had immense love for Bhairav. He always had an inclination to see any creation of his through Bhairav. His raag nirmitee also used to be born essentially through Bhairav medium. (An explanation here is utmost necessary. Bhairav is a vast raag. It is not a Bhairav which we are normally accustomed to listen to. It also contains other shades of ragas i.e. Vibhas, Malaharee etc.) Hence as per the explanation, Buwa basically conceived Kausi from Sa Ga Ma Pa dha Ni Sa of Bhairav. He thought of Malkauns and “grafted” Komal Gandhar and Komal Nishad and composed the Bandish. Kumarji had a notation of this concept and this Bandish with him as was narrated to him by Buwa at Kolhapur in 1944. Hence one finds that Kumarji used to render it with a complete difference. Use of Shudhha rishbha, Both Gandharas, use of both Dhaivatas and use of both Nishadas (Aarohi shudhha Gandhar,shudhha Nishad, avarohi komal Gandhar and komal nishad along with a shudhha rishabha of Kanada that) gives this raga a conceptual realm strikingly different from Jog-Kauns.

If one listens to this critically, one may say that it is a Kausi Kanada of two Gandharas and two Nishadas. At least kumarji’s rendering of Kausi confirms it.

Mukul sings this Kausi only. He also has composed a beautiful bandish “ Kaliyan Hee kaliyan saurabh chhayee”. It is in Madhya laya trital.. I believe that this should clear the notions about Kausi and Jog-Kauns.

These three instances are only sign posts to let the readers know that what are his moorings and what are the pathways on which his journeys are taking him. His approach towards the Ragalapti has undergone a considerable change over the years. Let me narrate the latest and a curious event and end this write up.

In Pune, very recently, he rendered a very forceful Kalyan. It was something alien to his Gayki which I have been listening to till now. In my entire listening experience, I found it little different that he rendered it the way which was perhaps alien to his aesthetics. A little before Ahmedabad concert and Lecture Demonstration, I requested him to render a couple of things which otherwise he does not render. However he told me that he will be definitely rendering Kalyan and the same Bandish again to start the concert. I knew that he had something in his mind. I met him in Ahmedabad in the morning and we chatted a bit. While leaving he just exclaimed (as if he read my thoughts about repeating Kalyan) that what he rendered in Pune was Raga called Kalyan and here he would be rendering Raga Kalyan. Looking at my puzzled face he went on to explain that Kalyan is the feeling in the Raga and this could be produced by variety of ways and means.

What he rendered that evening was a very delicate Kalyan. He started with an extended aalaps as usual and used the words “Salona Re Baalam” as a key to open the giant throbbing interior universe of Kalyan. Once the Bandish emerged, Idioms after idioms, he relentlessly kept Kalyan’s inner heat till he could show those glowing Gandhars and Rishabhas and could make us watch him sitting in their glow. Jod, which was a mystic Tarana was as if life itself coming to an end with the promise of another birth.

This is a meek attempt to capture his Khayal in words and the world which it evokes. (I have not written about his thumaries, tappas, taranas, lavanis, gazalas, Dhruva-pad and all other genres wherein he is remarkably proficient). However, whatever words you use, they are futile for they cannot capture the magic of his elusive music which is extraordinary agile. For it captivates you ,it appears at once full of weight and quick moving like a drop of Mercury which is difficult to grasp. It eludes you easily and once it does so there is nothing which you have grasped.

Our generation hoped that Kumarji will be there to show as to what will be Indian Classical music in 21st century. But he was gone in 1992. After him, today it is only Kishoritai and Mukul who are the torchbearers of this.

Gao, Bajao and Rizao are three keywords in Indian Classical Music. Rizao signifies the magic which a performer recreates. It is that touch of “ADBHUT (अदभुत)” which touches the lives of the listeners and make them forget the physical world. For a memorable concert what is needed is zankar of 4 Taanpuras. We can see two of them on the stage. The third one is in the mind of a performer and if the resonance of all the three isreflected in the mind of A listener, then he feels that the artist is rendering the Raga for him. We can certainly feel this in Mukul’s music.

Musicians normally live very lonely lives, shut off with their Tanpuras figuring out the vast expanses of the inner landscapes of their lives in their Ragas and Bandishes. The journey once begun never truly ends. It is to the end of every life that this journey is directed. What it needs are courage and rapt belief. Mukul’s life and the enigmatic world which he has created certainly personifies this.

New Delhi, 2012

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عالمی اخبار - Rasheed Attre – One of the finest music composers of the subcontinent

عالمی اخبار - Rasheed Attre – One of the finest music composers of the subcontinent | CLASSICAL SONG -ghazals | Scoop.it
The great music composer Rasheed Attre of the subcontinent was born in Amritsar, India in 1919. Incidentally at the time of writing this piece on him, it is his death anniversary as he died young, only forty eight, on December 18, 1967. His father Khushi Muhammad was a popular singer cum musician of his time. Javed Attre, the youngest of Rasheed Attre’s off-shoot tells me that they were converts from Shikism to Islam; a bold admission I must say! I came to know Rasheed Attre’s talent when I was in school and his movie ‘Sarfarosh’ directed by Anwar Kamal Pasha was released. Zubeda Khanum’s four songs were instant hit. These became popular despite Indian movies getting released in Pakistan at that time . Her songs ‘Teri Ulfat Mein Sanam’, Ik Chor Ik Lutera’, ‘Aie Chand Unsey Ja Ke Mera Salam Kehna’ and ‘Tera Nishana Daikhey Zamana’ were very popular. Meena Shori, the Laralapa girl had moved to Pakistan from Bombay and she pictured the last song just mentioned. She played the vamps’ role. It was beginning of Zubeda Khanum’s era as her songs by Rasheed Attre from the 1954 movie, a Punjabi one this time namely ‘Chan Mahi’, again an Anwar Kamal Pasha movie became very popular. She sang ‘Bundey Chandi Dey Soney Di Nath Laeykey’ and few other hits. Rasheed Attre was a novice as far as the Pakistani Film Industry was concerned though he had brought with him some rich experience of Indian movies before 1947as he had done some work in Indian Film Industry before the creation of Pakistan. I would therefore like to talk about some of his pre-partition days’ work first.

Having got trained from Khan Saheb Ashfaq Hussain in playing percussion instrument, Tabla, his attention got diverted towards making music compositions from 1940 onwards. He composed two songs for Mahishori’s picture ‘Pagli’ and the rest were composed by Ustad Jhandey Khan. Such was the competitive mood at that time. The big break for Attre came when he got an independent movie in 1942 titled ‘Mamta’. It was an Indira Puri Movie Production, directed by Hafeez Ji with leading actor Kalawati in it. Then director Najam Naqvi asked Rasheed Attre to compose music for the movie ‘Pana’ in 1944. For the first time Attre’s movie became a hit acted by Geeta Nizami formerly known as Mohini with P. L. Raj as male lead. Songs like ‘Her Cheez Yahan Ki Fani, ‘Mela Do Din Ka’, ‘Himmat Ko Na Haar Musafir, ‘Ut Baheye Ganga’, the last one being a thumri, became popular at that time. Rasheed Attre also composed songs for a not worth mentioning movie ‘Kamra No. 9’. His song ‘Mera Rootha Balam’ by Amir Bai Karnatki was popular from this movie. This song was written by Nakhshab. His compositions for Najam’s movie ‘Natija’ were hit. It starred Shamim Bano and Yaqub. A Ghazal ‘Kahan Mein Aur Kahan Deen-e-Haram’ became popular in no time. He was then used as a composer by Roop K. Shori (Meena Shori’s husband) for a movie ‘Paaro’ and by Shahid Latif for ‘Shikayat’.

Director Masood Parvez gave break to Rasheed Attre in his movie ‘Beli’; Attre’s first Pakistani venture. He became popular however after Nazeer’s Punjabi movie ‘Shehri Babu’ was released. Actress Swaranlata and hubby Nazeer had just migrated from India then. The song ‘Galan Sun Key Mahi Dey Naal Meriyan Dopatta Beiman Ho gaya’ and ‘Raatan Meriyan Bana Key Raba Nehriyan’ by Zubeda Khanum and evergreen song ‘Phagan Waleyo’ by Inayat Hussain Bhatti from this movie is even popular today. The latter song has been remixed by many among the present generation. Now Rasheed Attre caught attention of the great Director W. Z. Ahmad for his movie ‘Roohi’ and then for 1954 hit movie ‘Wa’ada’. I remember this movie ran for weeks in Rattan Cinema, Lahore. A novice in singer namely Sharafat Ali rendered two songs ‘Jab Terey Sheher Sei Guzarta Hun’ and ‘Baar Baar Barsein Morey Nain’, the latter a duet with Kauser Parveen were popular songs of the day. Javed Attre told me that Sharafat was W. Z. Ahmad’s friend and Attre was asked to compose for him despite the tremor and tenor in his voice. Though these songs became his reason of popularity but he was nowhere to be seen thereafter.

A thumri became popular in director Nazeer’s ‘Khatoon’. This touch of classical music in Rasheed Attre’s compositions was more or less visible in some of compositions made in Pakistan also. For example in 1960’s movie ‘Salma’ Naseem Begum rendered ‘Saanwariya Man Bhayo Re’ and Nurjehan’s ‘Banwari Chakori’ from Anwar Kamal Pasha’s ‘Anarkali’ and ‘Jia Ra Tarsey’ from the movie ‘Mahal’ and ‘Chan Chun Chun Bajey Payal Bajey’ from Hasan Tariq’s movie ‘Neend’. Naseem Begum also gave memorable songs to Rasheed Attre like ‘Ankhon Ankhon Mein Tu Dil Ko Churaei Re Sanam’ from the movie ‘Ak Manzil Do Raahein’’

In 1954 again Rasheed Attre became composer for Anwar Kamal Pasha’s movie ‘Chan Mahi’. It starred Bahar and Aslam Parvez. Tufail Hushiarpuri wrote the lyrics. Then in 1957 came another hit by Rasheed Attre. It was in the shape of Jaffar Malik’s movie ‘Saat Laakh’. I still remember the Salim Raza’s song ‘Yaaro Mujhey Mua’af Rakho, Mein Nashey Mein Hun’ very competently pictured by Talish. Another song in Raag Bhagheshri by Munir Hussain ‘Qarar Looteney Waley Tu Pyar Ko Tarsey’ was the life-making song for Munir Hussain. I am surprised that when I was doing a FM 101 show on music last year I was not allowed to play this song as it is banned because of the negativity of its poetry. What a pity that our State Radio is still following this hackneyed policy. The other popular songs from this movie were ‘Sitamgar Mujhey Bewafa Janeta Hei’, ‘Jo Dil Ko Toretey Hein’ and ‘Ghoonghat Utha Loon’. The most popular song however was and still is Zubeda Khanum’s ‘Aaei Mausam Rangeeley Suhaney’ pictured beautifully by the new entrant Neelo. With such songs, began the glorious era of Pakistani melody, the credit for which is shared by Rasheed Attre. Mind you, it was despite the old recording machineries in our studios and very melodious music being churned out at that time from India. The credit for recording Pakistani popular songs goes to sound recording engineers such as Mandodi and Afzal Hussain and alike.

In my private ‘Mehfils’ I am even today asked to croon Munir Hussain cum Zubeda Khanum’s song ‘Dila Theher Ja Yaar Da Nazara Lein Dey’. I also sang it for Syed Qaiser Ali Shah’s ‘Sunehrey Geet’ for PTV some years ago. This song is from Rasheed Attre’s movie ‘Mukhra’. The other hit song from this movie was ‘Mera Dil Channa Kutch Da Khidona’. This shows that Rasheed Attre gave maximum break to crooner Zubeda Khanum, perhaps because at that time Nurjehan had not yet entered as a background singer and had sufficed to sing only for the movies she acted in. Then came the time for competition to compose for Nurjehan’s movie ‘Anarkali’ directed by Anwar Kamal Pasha with Sudhir and Ragini as hero and vamp respectively. Javed Attre, his son told me that initially all the songs were to be composed by Master Inayat Hussain but after two songs had been recorded, Anwar Kamal Pasha had change of heart and he contacted Rasheed Attre to compose the music, the latter asked the producer to obtain Master Saheb’s permission on the condition that all songs would be composed by him (Rasheed Attre). However when the movie was released it did have those composed by Master Inayat as well for which Rasheed Attre remained estranged with Pasha till he lived. Four songs ‘Banwari Chakkori’, ‘Jo Bhi Nagah-e-Yaar Kahey Maan Jaaiye’, ‘Tumhari Arzoo Mein Koocha-e-Qatil’ and ‘Sada Hun Apney Apney Pyar Ki’, all hits were Rasheed Attre’s compositions. Humera Arshad, a singer of today, remixed the latter song and got popular. The director Khalil Qaiser came out a movie on Muslims’s struggle namely ‘Shaheed’. How can anyone forget Naseem Begum’s ‘Us Bewafa Ka Sheher Hei Aur Hum Hein Dosto’ of Munir Niazi! Even I rendered this Ghazal in PTV’s ‘Meri Pasand’. The other songs from this movie were ‘Nisaar Mein Teri Galiyon Pey’, “Meri Nazarein Hein Talwar’ and ‘Habibi Haiya Haiya’, the latter two by Naseem Bagum. The former was by Munir Hussain who was among one of the favourites of Rasheed Attre, perhaps because Mehdi Hasan had not entered the Pakistani Film scene by then.

Nurjehan sang for Rasheed Attre in Hasan Tariq’s movie ‘Neend’ for which Rasheed Attre bagged Nigar Award in 1959. I still recall having watched this movie in Regent Cinema Lahore. Nurjehan, Neelo and Nighat Sultana were coal pickers and Aslam Parvez played the hero but in a negative role. It was dominated by Nurjehan’s songs ‘Chan Chun Bajey Payal Bajey’ and ‘Terey Dar Par Sanam Chaley Aaei’. One of its songs ‘Akeli Kahin Mat Jana Jamana Najuk Hei’ was re-mixed by the composer’s grandson Jimmy Attre lately. Rasheed Attre could also compose modern songs such as Nurjehan’s ‘Zindigi Hei Ya Kisi Ka Intizar’ from the movie ‘Salma’. His unique composition in director Luqman's visionary movie ‘Farishta' is in line with our observation. We are talking of ‘Dil Ki Dharkan Teri Aawaaz Howee Jaati Hai’ by Noor Jehan, pictured on actress Yasmeen. Javed Attre told me recently that his father had understood the psyche of music lovers of his time and he could give music of any sort to them as per their requirements. His personal forte however was to ‘dilute’ classical music into film songs. As far as the famous Sufi Tabasum’s Ghazal ‘Sau Baar Chaman Mehka’ sung by Naseem Begum for the Santosh Kumar movie ‘Sham Dhaley’ is concerned, she sounded so close to Nurjehan that Nurjehan visited Rasheed Attre many times as to why ‘her’ Ghazal was given to Naseem Begum, spoke Javed Attre of this hit Ghazal. Javed Attre has three elder brothers, late Liaquat Attre and Sadaqat Attre, both Assistant Directors and number three in line, Wajahat Attre who is a famous music composer in his own right.

Young director S. Suleman, younger brother of Santosh Kumar and Darpan now thought of using Rasheed Attre as his eldest brother had done. He thought of directing a movie titled ‘Gulfam’. Songs such as ‘Ye Naaz Ye Andaaz Ye Jadu, Ye Adayain’, ‘Aankhon Mein Aankhein Daal Kay’, ‘Utha Lay Aap Hee Khunjar’ and ‘Mushkil Hai Meri Nazar Bachhna’ are the songs from this movie.

Rasheed Attre was a gentleman if his character is to be summed up. He used to smoke pipe and was dressed in three piece suit most of the time. He was an educated person with love for good poetry. That is why he picked Faiz Ahamd Faiz’s poetry from Najam Naqvi’s movie ‘Qaidi’. This poem ‘Mujh Sey Pehli Si Muhabbat Merey Mehboob Na Maang’ is popular all over the world since past five decades. Another of Rasheed Attre’s hallmark movie is Jaffar Malik’s ‘Mauseeqar’. The song “Gaei Gi Duniya Geet Merey’ which fits the story of crooner Nurjehan that everybody will hum her songs when she is no more is a gift of Rasheed Attre to her, from this movie. Fifties was the decade of musicals on both sides of the border. With this movie Pakistan did its bit. The other popular songs of this movie were ‘Yaad Karoon Tujhay Shaam Saweray’ and ‘Tum Jug Jug Jiyo Maharaj Re’ by Noor Jehan and Salim Raza. It must have been established from the above details of hit songs that success of the above movies had a lot to do with Attre’s music.

Now Anwar Kamal Pasha decided to launch Rani as heroine in the movie ‘Mehboob’. Attre was the natural choice of music composer. He lived to his name by composing Nurjehan’s ‘Nigahein Mila Kar Badal Janey Waley Mujhey Tujh Sei Koi Shikayat Nahin Hei’ pictured on Rani. Then director S. M. Yousuf who had migrated from India utilized the services of Attre for his movie ‘Dulhan’ followed by Attre composing famous song ‘Gar Tum Haseen Na Hotey’ for the movie ‘Gehra Daagh’. I can however never forget Nurjehan’s melodious Alaap at the start of the song ‘Jiya Ra Tarsey Daikhan Ko’ from the movie ‘Mahal’ again Attre’s innovation. Another Ghazal that I sing in my concerts is Salim Raza’s ‘Husn Ko Chaand Jawani Ko Kanwal Kehte Hein’ from the movie ‘Payal Ki Jhankar’. The latter two are classics examples of Rasheed Attre’s brilliance as a composer.

The other movies for which Attre composed music are Laila Mujnu, Rukhsana, Gulshan, Saahil, Dakoo Ki Larki, Aik Manzil Do Raahain, Aazaad, Shabab, Hazaar Dastaan, Al-Hilal, Jeedar, Mirza Jat, Baau Jee, Zaalim and Chataan. By giving maximum number of hit songs to Pakistan Film Industry in short span of time, Rasheed Attre made it proud especially when outstanding music was also being created by giants such as Sajjad Hussain, Khem Chand Parkash, Naushad Ali, S. D. Burman, Anil Biswas, Shankar Jaikishen, Salil Chaudhry, Madan Mohan, O. P. Nayyar, Khayyam and alike across the borders.
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Mallika Pukhraj rendering Abhi to Main Jawan Hoon live

Mallika Pukhraj rendering Hafeez Jallandhari's legendary nazm, 'Abhi to Main Jawan Hoon' live - Rare Doordarshan Recording!
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