2014 year (ear) for music!!!

2014 year (ear) for music!!!

Year 2014 was a good year for music lovers in UAE. There were a number of concerts.

The ones that I attended are:

1. Nirvana 2014- Zhakir Hussein, Taufiq Qureshi, Louis Banks, Shankar Mahadevan & Niladri Kumar.
2. Jyoti Hegde (Rudraveena+Sitar) and Mrinalini Kotur (Sitar).
3. Upendra Bhat (Vocal).
4. Rajprasad Dharmadhikari (Tabla).
5. Betal zalet sur (Vidamban geete).
6. Shujat Khan (Sitar) & R. Prasanna (Guitar).
7. Amman Ali Khan (Sarod) and Ayyan Ali Khan (Sarod).
8. Dr. Kavita Gadgil (Vocal).
9. Kum B. Lakshmi Surya Teja (Vocal).
10. Hariprasad Chaurasia (Bansuri).
11. Padmini Rao (Vocal).
12. Ajay-Atul (Vocal).
13. Shivkumar Sharma (Santoor) & Rahul Sharma (Santoor).
14. Padmaja Phenany-Joglekar (Vocal).
15. Shubha Mudgal (Vocal).
16. Gulzar: Baat pashmine ki (Vocal).
17. Satish Vyas (Santoor).

And then there were some that I could not attend viz:

1. Kabir by Padmashree Pralhad Tipanya (Vocal)
2. L. Subramanian & Ambhi Ductac (Violin)
3. Sitar fusion by Chirag Katti (Sitar)
4. Rashdi Khan (Vocal) and Shahid Parvez (Sitar)
5. Laya raga sangamam by Sthree Thaal Tharang at Sudanese club (Instrumental)
6. Upendra Bhat (Vocal)
7. Srivalasan G. Menon (Vocal) Carnatic
8. Kathakali (Dance)

HAPPY NEW YEAR TO ALL OF YOU.

Pandit Satish Vyas (Santoor)

Attended concert of Pandit Satish Vyas (Santoor) accompanied by Ojas Adhiya  (Tabla) organized by Anubhooti at Embassy of India auditorium, Abu Dhabi, on 19th Dec 2014. Occasion of this concert was first anniversary of Anubhooti.

Concert started with raag Jhinjhoti. Panditji started with aalap. The minute, detailed and delicate pieces he played in aalap generated instant wah wah (Verbal applause). Then he played two compositions. First was in Jhaptal. Satishji and Ojas got multiple applauses for their soft as well as forte playing. Second was in drut Ektal. This too was applauded by audience. He played for one hour and ten minutes.

Then he presented Raag Chsrukeshi that was adopted by Hindustani music from Carnatic music. No need to mention that it was too good. This section also consisted of Sawal-Jawab. Audience applause had become a common feature by this time. He played for about fifty minutes.

Needless to say Satishji played excellently. He was in a sublime mood today. SBI Dhabi audience came to know why he is considered best Santoor player next only to Pt. Shivkumar Sharma.

Ojas played excellent tabla. Audience liked him very much. He has potential to become one of the greatest tabla player. I wish he does.

It was a full house. For the first time a number of people had come from Dubai for this concert. Sound system, though, was not on its best behavior.

Special mention should go to the audience. It was a knowledgeable and rasik audience who applauded in all the right places. In informal discussion post concert, Ojasji also appreciated the audience and the auditorium.

A wonderful experience. Entertainment rating 9.5/10.

Disclaimer: I am a founder member of Anubhooti.

Gulzar: Baat Pashmine Ki (गुलज़ार: बात पश्मीने की)

Attended concert titled "Gulzar: Baat Pashmine Ki (गुलज़ार बात पश्मीने की)", a program about legendary Gulzar (गुलज़ार) and songs written by him . The program was anchored by Sachin Khedekar, Pournima Manohar and Anand Ingle. Singers of the evening were Swarada Gokhale, Jitendra Abhyankar, Swapnaja Lele and Dhawal Chandwadkar. The program was with a music soundtrack i.e. without live music. The program was in Sheikh Rashid auditorium, Indian Highschool, Dubai. This was the hundredth show of "Baat Pashmine Ki (बात पश्मीने की)".

The concept of this program was interesting. It consisted of songs of Gulzar in the foreground, poetry and sher(शेर) on one side, painting on other side and video clips in the background. Creatively conceived.

A number of Gulzar songs were presented. The songs were; Fir wahi raat hai (फिर वही रात है), Naam gum jayega (नाम गुम जाएगा), Mora gora ang lai le (मोरा गोरा अंग लई ले), Tum pukar lo (तुम पुकार लो), Koi hota jisko apna (कोई होता जिसको अपना), Beeti na bitai raina (बिती ना बिताई रैना), O mazi re (ओ माझी रे), Ruke ruke se kadam (रुके रुकेसे कदम), Dil dhundhta hai (दिल ढूँढता है), Is modse jate hai (इस मोड़से जाते है), Chod aye ham ye galiyan (छोड आए हम ये गलियाँ), Tuzse naraz nahin (तुझसे नाराज़ नहीं), Dil hum hum kare (दिल हूम हूम करें), Mera kuch saman (मेरा वो सामान), Do naino mein (दो नैनोंमें आँसू), Ai ajnabi tu bhi kabhi (ऐ अजनबी तू भी कभी), Chalka chalka re (छलका छलका रे), Barso re megha (बरसो रे मेघा), Kajrare kajrare (कजरारे कजरारे), Jay ho (जय हो), Musafir hun (मुसाफिर हूँ).

The program showed multiple facets of the personality of Gulzar. His special bonds and understanding with Pamchada and Sanjeev Kumar. Clippings of films made by him like Mere Apne (मेरे अपने), Angoor (अंगुर), Machis (माचिस), Masoom (मासूम), Ijazat (इजाज़त) etc., excerpts from his stories like Ravi par (रावी पार).

Program started almost one hour late due to some "technical" difficulty. The stage set up was such that the spectators sitting at the end of seat rows could not see the video clips. This was a big fault of stage manager (नेपथ्यकार).

The reason of using three persons as anchors was not clear. Sachin Khedekar was the life force of the program and carried the show on his shoulder. His rendition of the poems and reading of story was excellent. His knack of presenting the poem, applying right amount of emphasis and effective pauses were endearing. Other two anchors were 'also ran'.

The singers were decent. They were not WOW but nothing to complain about. However Swarada and Dhawal impressed. Surprisingly audience did not ask for 'once more' even once. Since the entire program was digitized, it would not have been possible anyway.

Girish Charwad drew two paintings. His painting of Mirza Ghalib was appreciated. Interestingly besides being a good painter he is also a Sarod player.

All in all it was conceived well, planned well and executed as per plan. A good experience. Although you know Gulzar, you are impressed by his contribution and achievement a new. And here lies the success of program.

Entertainment rating 8.5/10.

Padmashree Shubha Mudgal (Vocal)

Attended concert of Padmashree Shubha Mudgal (Vocal) accompanied by Dr. Aneesh Pradhan (Tabla - तबला), Sudheer Naik (Samwadini - संवादिनी) and Diya Kundu (Tanpura & Vocal accompaniment), a very young disciple of Shubhaji. The concert was part of Emirates NBD Classics III series at DUCTAC, Dubai on 5th Dec 2014. I attended the concert with my father-in-law. Thanks to Kumar.

Concert started with Raag Bageshree. She presented two compositions. First was 'Sajan bahu gun kam na aye..' in vilambit Ektal and second 'Harawa gundh lao ri..' in madhyalay Teen taal.

Then she spresented two short compositions in Raag Chhayanat composed by her Guru Ramashreya Jha alias Ramrang. First composition was 'Aaj man laago mero ...' in  Jhaptaal (This was composed as a tribute to Vishnu Narayan Bhatkhande, the great). Second composition was 'Kar kanganwa..' in Teen tal. This was a beautiful composition about how Sita sees Ram's reflection in her bangle before garlanding (marrying) him. It was my first time to hear Raag Chhayanat live and I liked it.

Then she presented Bol Banao Thumri 'Piya ke jagaye, jaag pari main to ...'. Bol Banao Thumri is speciality of Banaras gharana (Purvi ang). This Thumri was different. It was slower than Thumris I know. Aneeshji got a free hand towards the end and he was very good.

Final composition was Jhula ' Dheere dheere jhulao ...', taught to her by Naina Devi. Jhula is influenced by folk music and is a speciality of Uttar Pradesh.

After she concluded a farmaish (request) was made for Dadra 'Sunder sari mori ...' And Shubhaji fulfilled the request. But it did not end there. Audience urged her to sing Thumri 'Balam tere zagde mein rain gai ...' She liked the farmaish and sung it.

Start appeared a bit tentative to my untrained ears, but then Shubaji sung very well (goes without saying). I especially enjoyed her aalap.

Sudheerji also plays harmonium with great command and was applauded by audience. Understanding between Shubhaji & Aneeshji was excellent. Being Husband-Wife helps!

Sound system did not give any trouble and temperature of auditorium was not cold. Infact I would have preferred a couple of degree Centigrades lower.

Raag Chhayanat, Bol banao Thumri, Jhula & Dadra .. Wow... This concert was definitely 'different' and out of beaten track.

A very good concert. Entertainment rating 8.5/10.

Diwali Pahat (दिवाळी पहाट) - Padmashree Padmaja Phenany-Joglekar (Vocal)

Attended concert, titled Diwali Pahat (दिवाळी पहाट), of Padmashree Padmaja Phenany-Joglekar (Vocal)  accompanied by Parag Dhadphale (Tabla - तबला), Mandar Parkhi (Samwadini - संवादिनी), Mahesh Khanolkar (Violin) and Sayli Karve (Vocal accompaniment). The concert was organized by Gallop events in IIS Auditorium, Silicon Oasis, Dubai on 24th Oct 2014. I attended the concert with Aditi, Sucheeta & Jayant.

This was a light musical concert of her film songs (चित्रपट गीते) and bhavgeete (भावगीते). All the songs as well as the announcement was in Marathi. Padmajaji encouraged audience to feel free to sing along because the best relationship is the relationship of sur (सुर).

Concert started with famous Ganeshstavan 'Om namo ji adya (ओम नमो जी आद्या) Mangal charana Gajanana' of Sant Dnyaneshwar. Then she sung Kavivarya Shankar Ramani's poem 'Dive lagle re dive lagle (दिवे लागले रे दिवे लागले)'

Then she presented a, yet to be recorded, abhang(अभंग) of Mirabai, her own composition 'Hari mere jeevan pran adhar (हरी मेरे जीवन प्राण अधार)'. She then presented a poem of Kavishreshta Indira Sant, 'Yaho yaho Suryanarayana (याहो याहो सूर्यनारायणा)'. Then came 'Suhasya tuze (सुहास्य तुझे...मी मज हरपुन)', a composition of Dinanath Mangeshkar. Audience welcomed this song by clapping at the first alaap. Audience then made a farmaish of 'Kenvha tari pahate (केंव्हा तरी पहाटे)' in Raag Durga from movie Nivdung (निवडुंग). 'Sangu kase sare tula (सांगु कसे सारे तुला)' a sad song that touches your heart was next. 'Hasra nachra (हसरा नाचरा...श्रावण आला)' a poem of Kusumagraj (कुसुमाग्रज) composed by Girish Joshi, 'Sonchphyachi Paule (सोनचाफ्याची पाऊले)' & bandish 'Khelat basant (खेलत बसंत निस पियासंग लागी)' were the subsequent offerings.

Final section was a rapid fire of songs, one after another, non stop. Poem of Ex- Prime Minister of India, Atal Bihari Vajpeyi 'Geet naya gata hun (गीत नया गाता हूँ)' followed by 'Pustakatli khun karaya (पुस्तकातली खूण कराया)', 'Ranjishi sahi (रंजिशी सही)', 'Aaj Jane ki zid na Karo (आज जानेकी ज़िद ना करो), Kahin ye who to nahi (कहीं ये वो तो नहीं), Tinhisanja sakhe milalya (तिन्हीसांजा सखे मिळाल्या),  Tuzya eka hake sathi (तुझ्या एका हाकेसाठी).

The harmonium player, Mandar Parkhi, sung one Gazal ' Zhuki zhuki si nazar (झुकी झुकीसी नज़र). Mahesh, the violinist, also played a solo piece very effectively & Sayli, her student sung Dore akash shamiyana (दोरे आकाश शामियाना), a Bengali song of Saleel Chudhuri.

She finished the concert with my farmaish 'Lav lav kari pate (लव लव करी पातं)', a lullaby 'Nilya aakashachya (निळ्या आकाशाच्या)' from her album Megha re (मेघा रे), 'Megha re (मेघा रे)', the title track of her album and finally 'Runuzunu runuzunu (रुणुझुणु रुणुझुणु)'.

Padmajaji  engaged the audience throughout the program by peppering witty and informative commentary, encouraging them to appreciate the musicians and to clap. This created a dialogue with the audience.

Harmonium and Violin players have been playing with Padmajaji for more than 20 years so there was no question of lack of coordination. All the accompanists played well and were applauded from time to time by Padmajaji and audience. She sung very well and audience loved her.

Special mention should go to the audience who was knowledgeable, applauded at the right locations and recognized the song at the first note. Such an audience is singers delight.

Although remotely located, it was a very good auditorium. It was spacious, comfortable and has a large stage. Sound system was of Bose. Main singers mike had some issues as the words were a little unclear. Volume of violin was slightly on higher side.

Gallop events is a newly formed company. This was the first ever event organized by them and they did well. Typical Maharashtriyan atmosphere was created through a combination of music, rangoli (रांगोळी), hand outs, event specific news letter and Diwali faral (फराळ) packets. Full marks to them.

An excellent concert. Entertainment rating 8.5/10.

Pt. Shivkumar Sharma & Rahul Sharma (Santoor) - Jugalbandi

Attended concert of Pt. Shivkumar Sharma (Santoor) & Rahul Sharma (Santoor) in Jugalbandi accompanied by Ram Kumar Mishra (Tabla) and Pt. Bhawani Shankar (Pakhawaj). The concert was part of Emirates NBD Classics III series at DUCTAC,  Dubai on 17th Oct 2014. I attended the concert with Jayant, Raju, Pawar, Amit, Harshal & Milind.

Before the start Panditji gave an introduction of Indian classical music to the audience and emphasized the importance of spontaneity and improvisation that differentiates Indian classical music from other genres.

First section of Concert was pure classical. They started with late night raag Janasammohini (जनसंमोहिनी). First the two played alaap jugalbandi without percussions. Then they played Jod with Pakhawaj. Crescendo of this piece was fabulous. Then they played a composition in same raag with Tabla in Rupak (रूपक) taal. Audience liked the chakradar played with both percussionists.

Second section of concert was light classical. Panditji chose night raag Pahadi (पहाडी) as the base raag for this section. They played two compositions. First was Dhun in Dadra (दादरा) taal. Anyone, who has heard Panditji's audio tracks, is familiar with Pahadi Dhun. It used to be played on Doordarshan more than 25 years ago. Only Tabla accompanied them for this.

Second composition was a faster composition in teen taal (तीन ताल). Here they were accompanied by both Tabla and Pakahwaj. Both of them played Santoor with stick and hand making it more enjoyable. Rahul stole the show. He made the percussionists sweat. They could not match his speed. Fast pace + known tune + it being the grand finale + everyone playing at their best = pure entertainment. They finished with a tihai of chakradar, each chakradar a tihai in itself.

It seems Panditji likes raag Pahadi. He played Pahadi in his last concert too (Last year). Everyone enjoyed it owing to the familiarity.

The synchronized playing of fine details with sliding motion of stick was a treat for the audience. All the performers were top class, so needless to say they played very well. Surprisingly, there were no Sawal-Jawab (सवाल जवाब) in today's concert.

Although this was my third live concert of Panditji, it was the first time to watch Rahul live. I was impressed and would like to watch solo concert of Rahul. This was the first time to watch Santoor jugalbandi and I don't know when such an opportunity will come again.

Since it was a father son duo one could not help but notice the similarities and differences. Rahul appeared to be using Santoor with electric strings. Panditji has a frontal posture whereas Rahul sits with right shoulder slightly forward. Panditji suits with left leg forward whereas Rahul with right. Panditji appreciated Rahul whenever he played something special. He carried himself like a proud father of brilliant son.

It was a mature audience who resisted the temptation of clapping until the piece was completely played out thus avoiding the drowning of details in claps and appreciating fully.

This auditorium is known for good acoustics but today there was some problem with gain balance and frequent adjustments were needed.

An excellent concert. Entertainment rating 9/10.

Ajay-Atul (Vocal)

Attended concert of Ajay-Atul, famous music directors. They were accompanied by a set of musicians. Rushikesh Ranade, Yogita Godbole, Sawni Ravindra, Swapnil Bandodkar and Ajay-Atul were singers. Abhijeet Khandekar was the anchor. The concert was organized by Karma Event at Al Nasr, Leisureland, Dubai on 16th Oct 2014. I attended the concert with my family & friends.

Concert started with Ajay-Atul's famous Ganesh stavan (गणेश स्तवन) 'Ekadantay..(एक दंताय)' followed by 'Gorya gorya galawari..', ' Galawar kahli..(गालावर खळी)' etc. Then came Hindi song  ' Abhi muzmein thodisi hai baki zindagi' from Agneepath.

Audience was now getting jittery because Ajay-Atul had not made entry. This is when they made their grand entry with song 'Natrang ubha..(नटरंग उभा)' title song of Natrang. This song was immediately followed by famous 'Malhar wari motiyane ..(मल्हार वारी)' and gondhal ' Amhi ambeche gondhali (आम्ही अंबेचे गोंधळी)' followed by 'Chang bhale..(चांग भलं)' followed by 'Jeev zala wedapisa..'

Then came the romantic section with 'Man ranat gele ga', 'Jeev rangala..(जीव रंगला)' from Jogwa, 'Badmash dil..(बदमाश दिल)' from Singham, 'Man udhan waryache (मन उधाण वाऱ्याचे)' & 'Chimba bhijlele.. (चिंब भिजलेले)'

Then came the section of dinchyak (ढिंच्याक) songs 'Lai bhari..' title song of Lai bhari, 'Cham cham karta..(छम छम करता)',  'wajle ki bara (वाजले की बारा)' the lawni, 'khel mandla (खेळ मांडला)' a song that gives you goose bumps sung by Ajay, 'Baygo baygo.. (बायगो बायगो)', 'Aicha gho..(आईचा घो)', ' Ye go ye, ye maina.. (ये गो ये)', 'Chikni chameli (चिकनी चमेली)'. Audience was demanding Kombdi (कोंबडी पळाली) at this time, but they chose to ignore and sung title track of Singham.

The last section consisted of two songs. First song was 'Mauli mauli.. (माऊली माऊली)' and the grand finale was 'Deva Sri Ganesha.. (देवा श्री गणेशा)'

Some of the musicians were known faces for the audience like Amar Oak on Bansuri, Satyajit Prabhu on keyboard & Archis Lele on Tabla. Mr. Prabhu was evidently the music arranger.

I had not noticed earlier that Ajay-Atul use a lot of chorus in their songs very effectively and chorus makes the songs delicious.

Swapnil sung very well in higher octaves, but sung only two songs and was largely wasted. Ajay & Atul looked younger than when I saw them 4 years ago. When Ajay was singing solo, Atul played drums. When audience demanded once more Atul announced that they prefer to sing more songs than repeat, an ace answer. Rushikesh sung most of the songs originally sung by Shankar Mahadevan and Sonu Nigam. Yogita sung very well. Sawni was also good. But if you want to know who was the best singer of the night? Undoubtedly it was Ajay & khel mandla (खेळ मांडला) was the best song.

It was a medium sized auditorium. Auditorium was actually a converted ice rink, so it was very cold, uncomfortably cold. The acoustics were surprisingly decent.

A good concert. Entertainment rating 8/10.

Pandit Hariprasad Chaurasiya (Bansuri)

Mandar's concert report

Attended concert of Pandit Hariprasad Chaurasiya (Bansuri) titled "Elements - Vāyu", accompanied by Pt. Shubhankar Banerjee (Tabla), Pt. Bhavani Shankar (Pakhawaj) and Vivek Sonar (Flute accompaniment). The concert was organized by Tamburine Live at Madinat theater, Dubai on 26th Sep 2014. I attended the convert with Jayant, Sucheeta, Nandu, Deepa and Raju.

The concert started with Evening Raga Madhuvanti (मधुवंती). He started aalap solo and was later joined by Pakhawaj. Bhavani Shankar played very well and drew applause from audience. Then Panditji played a composition in same Raga, in Rupak (रूपक) taal. Tabla accompanied him for this. Shubhankar played very well and drew spontaneous applause. He gave an excellent demonstration of constrained and controlled tabla playing.

Then Panditji announced that he will play one of his favorite Raga, but he will not tell the name. The rendition of Raga  was too good and audience was swayed mesmerized. His jugalbandi with tabalji was excellent. At the end of this Raga, Panditji asked the audience if they have recognized the Raga. Many from the audience recognized it as Hansadhwani (हंसध्वनी). Let me confess that I did not recognize it from Sur, but could recognize since I have heard Panditji's audio track of this Raga numerous times. Panditji was very happy that so many of the audience recognized it.

Then he asked what should he play in remaining 7 minutes. Suggestions ranged from Maand, Yaman, Bhairavi etc. But the suggestion he liked most was 'whichever you like (जो आप चाहो)' and played Pahadi (पहाडी). Audience liked the light music as digestive.

Panditji sat on a chair instead of traditional cross legged position. His hands had a distinct tremor, though it was less than last time I attended his concert in May 2013. The age has caught up.

The theater was very good. Sloping arrangement of seats ensured unhindered line of sight of stage for the audience. Acoustics were also very good. They had a 'No photography' policy and implemented it effectively.

Panditji liked the sound system so much that he called the sound engineer on stage and felicitated him.

An excellent concert and mesmerizing evening. Entertainment rating 8.75/10.

Kum. B. Lakshmi Surya Teja (Vocal)

Attended Carnatic Vocal concert of Kum. B. Lakshmi Surya Teja (Vocal) accompanied by Smt. Sita Raghu (Violin) and Shree. Skanda Kumar (Mridangam) organized by India social and cultural center at ISC Auditorium, Abu Dhabi on 20th Sep 2014 with Jayant, Sameer and Raju.

This was my first time to attend Carnatic vocal concert. The vocalist is pursuing her masters degree in music and has won many awards. She hails from Vishakhapattanam and this is her first international tour.

The concert started with a varnam in Ragam Saweri. This was followed by famous composition 'Maha Ganapati manasa smarami'.

She then presented a composition by Nallacharavartulu Krishnammacharulu in Raga Basant followed by another composition '...mahishasur...' In Raga Kanada.

Next was Raga alapana in Amritvarshini. Here she asked the audience to observe their breath in and breath out. Then the violinist played a solo piece. This was followed by a composition 'Sudhamayi'. Skanda did well in this composition. 'Shri Rama pada...' was next.

Kailas Radhenam by Mutthuswami Dikshitar in Raga Kambhoji in Tisrajathi Triputa talam, the main item of the concert. Here she showed a lot of variations and her range. This was undoubtedly the best of the concert. However in this phase of the concert her good voice decided to abandon her. When it threatened to become a spoil sport, she recovered. All three of them were at their best in this section.

Then there was a section of short compositions. It started with 'Tamburi mitti...' of Purandardas in Sind Bhairavi followed by 'Kamal mukha Rama bhajan...' followed by Kabir's  'khaya piya sukhse soya...' followed by 'Govind Hari Govind...' then one more and finally 'Shubha mangalam....'

Peculiar thing was that the artist did not use tanpura, conventional or electronic. Her voice did not appear to be at its best, had some difficulty in higher octaves. Coughing was evident.

The hall chosen for the concert was too big with seating capacity of more than 500 but the attendance was about 50. Smaller hall is more suitable for such concerts.

Entertainment rating 6.5/10.

Padmini Rao (Vocal)

Mandar's concert report

Attended concert of Padmini Rao (Vocal) accompanied by  Parag Dhadphale (Tabla) and Subodh Godbole (Sanvadini) organized by R-square risklab at Embassy of India Auditorium, Abu Dhabi on 20th June 2014 with Jayant, Amit and Raju.

Concert started with evening raag Puriya Dhanashree (prabhu re tu - प्रभु रे तू). Padminiji presented three compositions bada khyal in vilambit ektaal , chota khyal in drut ektal and tarana. These were compositions of Dr. Prabha Atre.

Second raag of the evening was raag Bhupali. She sung two compositions. First in madyalay ektaal followed by Tarana. These were also compositions of Dr. Prabha Atre.

Padminiji then moved to semi classical segment of the evening. This was a Meera bhajan (Mhare ghar aao ji pritam pyara - म्हारे घर आओजी प्रितम प्यारा) in Raag Khamaj. This was her own composition, and what a good composition it was. Her marwari pronunciation was also perfect.

Then she presented very famous Thumri (yaad piyaki aye - याद पियाकी आए) of Ustad Bade Gulam Ali Khan. She sung this very well and audience liked it.

Concert ended with Dadra in Bhairavi (Mori maili ho gai chunariya - मोरी मैली होगई चुनरिया). This was a composition of Dr. Prabha Atre.

Padminiji is a disciple of Dr. Prabha Atre,  doyenne of Kirana gharana and Ustad Zia Moiuddin Dagar, Dhrupad Rudraveena maestro. Needless to say Padminiji is a very good singer, however she seemed to have throat irritation. She introduced the uniniated audience to Khayal gayki by giving background information before start of concert.

Subodh played well and followed Padminiji precisely.

Parag is a very good tabla player and he played very well today. He plays with ease and without theatrics. Padminiji appeared very happy with him.

Audience response was a bit cold today. Applause was measured rather than whole hearted.

Concert started half an our late. It was attended by around 60-70 rasiks. Sound system was not optimum today. Auditorium was chilled.

A good concert. Entertainment rating 8.5/10.

Dr. Kavita Gadgil (Vocal)

Attended concert of Dr. Kavita Gadgil (Vocal) accompanied by Nandkishor Banchhode (Tabla) and Subodh Godbole (Sanvadini) organized by Anubhooti at India Social and Cultural center, Abu Dhabi on 31st May 2014.

Concert started with raag Puriya Dhanashree in Vilambit Tritaal. Then she presented a bandish 'Mushkil Karo asan kwaja mere (मुश्किल करो आसाँ ख्वाजा मेरे)'.

Second raag of the evening was raag Bageshree in Vilambit tritaal. Kavitaji's rendition in kharj (lower octave) was especially good. She followed it with bandish 'E ri man sajan nahin aye (ए री मान साजन नहीं आए)' and bandish 'Jhagara karat pakadlini baiya marodi (झगरा करत पकडलीनी बैंयाँ मरोडी)'

Next offering was Raag Durga. Kavitaji sung only bandishes in Durga. First bandish was 'Atahi ghanghor (अतही घनघोर)'. Next bandish was 'Mata bhavani Kali (माता भवानी काली)' followed by tarana. This tarana was so good, it gave goose bumps to the audience.

Then she presented a bandish in raag Tilak Kamod 'Kar pakarat mori baiyan (कर पकरत मोरी बैंयाँ) followed by Hori 'Rang darungi Nand ke lalan pe (रंग डारूंगी नंदके लालनपे)'.  Audience appreciated this Hori a lot by accompanying her with claps. This hori is included in her maiden album that will be released soon.

Then she presented a natyageet "Vad jau kunala sharna ga (वद जाऊ कुणाला शरण गं)". Kavitaji had received gold medal from government of Maharashtra for this natyageet.

Concert ended with a bhaktigeet (भक्तिगीत) 'Saincha zala Prasad (साईंचा झाला प्रसाद)' in bhairavi.

Needless to say Kavitaji is a very good singer, each of her swar is distinct. Her variations in aalap were excellent. Although she belongs to Jaipur gharana, she sung bandishes of Kirana and Agra gharana with equal command. Tarana and Hori were the highlights of the concert. Kavitaji's voice though appeared stretched. It might be because of tiredness or change of weather. She was having difficulty in maintaining good voice in last two songs.

Subodh played well and followed Kavitaji precisely. He was better in second half. They had no practice session before concert.

Nandu played excellent tabla in pockets but appeared distracted other times.

A very good experience. Entertainment rating 9/10.

Disclaimer: I am a founder member of Anubhooti.

Amman Ali Khan (Sarod) and Ayyan Ali Khan (Sarod)

Attended concert of Amman Ali Khan (Sarod) and Ayyan Ali Khan (Sarod) accompanied by Satyajit Talwalkar (Tabla) and Anubrata Chaterjee (Tabla) as part of Emirates Classics III, at DUCTAC, Dubai on 2nd May 2014. This was my second time to watch Amman-Ayyan live.

Concert started with raag Shree. They presented two compositions. First in Jhap taal and second in Teen taal.

Then they presented raag Desh first in Ada Chautal and then in Teen taal. The compositions they played were of their grandfather Haafiz Ali Khan Saab.

Raag chaukeshi in teen taal was the next offering. Chrukeshi is a raag from South Indian system of  Indian classical music.

A folk tune from Bengal (Bhatiyali) was played next. I have heard this played by their father many times earlier.

Saraswati was then played for five minutes upon Satyajeet's recommendation. Then they moved to raag Kirwani for the conclusion and achieved the grand finale.

Amman and Ayyan play very well. They   are seventh generation sarodiya's. They definitely are two future Ustad's. Ayyan's Sarod was giving him trouble and had to be tuned frequently.

Both tabalji's were too good. Credit should be given to them for playing so well and to Amman-Ayyan for choosing tabalji's who are as good and at times even better than them. As compared to concert of Amjad Ali Khan last year (where these four accompanied him) tabalji's were given lot of free hand in this  concert.

Auditorium was not full despite it being a week end. It appears that since DUCTAC increased the ticket rates by 50%, sales have taken a hit. It's unfortunate that this has impacted patronage to Indian classical music. Sound system also gave a lot of trouble with whistling sound.

Amman and Ayyan are Ustad Amjad Ali Khan's sons. Satyajit is Talayogi Pandit Suresh Talwalkar's son and Anubrata is son of Pandit Anindo Chaterjree. So the players had a very strong lineage of classical music. However all said and done, I did not come out of the auditorium very satisfied. I did not feel that the performers gelled well.

Entertainment rating 8/10.

Ustad Shujat Khan (Sitar) and R.Prasanna (Guitar)

Attended Hindustani- Carnatic fusion concert of Ustad Shujat Khan (Sitar) and R.Prasanna (Guitar) accompanied by Ojas Adhiya (Tabla), B. Amrit (Kanjira) and P. Ravindran (Mridangam)  as part of Emirates Classics III, at DUCTAC, Dubai on 17th April 2014 with Raju and Jayant. This was my second time to watch Shujatji live.

First section of concert was played by Prasanna with Mridangam & Kanjira.

The concert started with Prasanna playing a composition of Muthuswamy Dixitar. Then he played a composition in raaga Suddha Saweri & another composition demonstrating his command on guitar.

The percussionists played jugalbandi after that.  Audience loved it & was applauded a lot. Prasanna ended this section with a composition called 'Bowling for peace', a composition from his album, a fusion.

Second section was played by Ustad Shujat Khan. Solo initially and then with tabla & mridangam. This section consisted of only one composition.

He played Jhinjhoti (aalap jod) followed by a composition. He termed the style of playing as 'informal'. Shujatji played sitar nimbly and applauded  the percussionists encouraging them .

This section took the concert to a different height. The trio played exceptionally well and took audience to the edge of ecstasy. They deservedly received standing ovation.

Final section was a jugalbandi of Prasanna and Shujatji with the three percussionists.

First Shujatji sang a gazal while playing sitar in this section. The lyrics were very good but the singing slowed down the tempo.

Then they all played together. This was my first time to watch Hindustani - Carnatic jugalbandi. The artists regained the lost tempo in this section. Prasanna garnished this section with some western style guitar play.

Concert ended on a high with all the musicians playing crescendo.

Volume of sitar was little loud & sometimes smothered sound of guitar. Program started almost half an hour late. Attendance was not very encouraging with only half of the auditorium full, probably because it was a working day.

Shujatji has lightning  fast fingures and played with ease. It is a delight to watch him playing. He also sings very well. I would, however, prefer sitar over vocal. Tabalji Ojas was a thin young man. But he played like a hurricane. He matched Shujatji stroke by stroke. Too good. This was my first time to watch carnatic classical music played on electric guitar. Another novelty was that Mridangam was placed on a custom made low stand.

Enjoyed the concert. Entertainment rating 9/10.

Betal zalet sur (बेताल झालेत सूर)

Mandar's concert report

Attended 'Betal zalet sur (बेताल झालेत सूर)', a program of Marathi parody songs (विडंबन गीते) on 11th April 2014 at India Club, Dubai. This was 202nd show of this program and first time out of India.

Before the start the artists challenged audience not to laugh even once during the program. Needless to say, they won.

Program started with Ganesh Vandana (गणेश वंदना). They presented one type of song in  another song's tune and vice versa. Some fusion, some new songs in old tunes accompanied by witty commentary.

Parody can be of anything. Style of singing, tune of the song, wording of the song, naughtiness, style of various musicians etc.. The artists used all these styles to create parody. They used all types of songs like folk songs, bhav geet (भाव गीत), filmy songs, tamasha (तमाशा), bhajan (भजन), light songs, lullaby(अंगाई), lavni (लावणी), qawwali, classical music and even ukhana (उखाणा - there is no English name for this)

There is a very thin line between naughtiness and vulgarity. This program never crossed that line and was enjoyed by everyone with their families. The singers and musicians were good and remained in sur (सूर).

The only deficiency I could note was that they mostly used existing songs and the contribution of newly written & composed songs was limited.

This program was presented by an amateur group of 11; consisting of entrepreneurs, doctors, chartered accountants, managers and engineers. It was lead by Shri. Chandrasekhar Vaze (One on extreme right in photograph). Mr. Vaze is Chairman of Jankalyan sahakari bank. The group consisted of four singers, a tabalji, a dholki player, a side rhythm player, a bansuri player, a harmonium player and two narrators.

The artists promised a program filled with fun and entertainment and confirmed that there will be no seriousnessa and the audience will enjoy.

They delivered. All in all a satisfying program. Entertainment rating 8.5/10

xxx xxx (Tabla)

Attended Tabla concert of Shri xxxx xxxx (Tabla) accompanied by Nandkishor Banchhode (Tabla) and Sandip Khairnar (Sanvadini - Harmonium) organized by Anubhooti, at Embassy of India auditorium, Abu Dhabi on 11th April 2014.

This was xxxx xxxx's first international solo concert. Anubhooti introduced him to international audience. The chosen taal for the concert was Tritaal.

The concert started with Peshkar. It was followed by Ajrada Kayda. Audience applauded the artists multiple times not only demonstrating appreciation of performance but also their knowledge.

Then Nandu presented Ajrada Kayda and demonstrated how a disciple follows his Guru's foot steps. This Kayda ended with synchronized chakradar.

In the next rela xxxx demonstrated how soft tabla can be played most effectively.

Farmaish bandish in madhyalay teental followed by a medley of compositions, bandishes, chakradar, Punjabi chakradar, bedam chakradar, tukdas, sawal-jawab & lagge.

xxxx modesty was evident when he requested audience to excuse for any mistakes as they have practiced only for 3-4 days. If they can perform so well with such little practice, imagine what they can do with more practice.

Nandu has shown marked improvement in his tabla playing over last year. He played very well and was appreciated by xxxx. Now Nandu has 'hot fingers'.

Sandip had to be corrected by xxxx on a couple of occasions, otherwise he did well. Although playing lehra seems simple, actually it is very difficult.

When the performers enjoy playing, the audience enjoys listening. This concert was pure joy. Entertainment rating 9/10.

Disclaimer: I am a founder member of Anubhooti.

Upendra Bhat (Vocal)

Mandar's concert report

Attended Vocal concert of Shri Upendra Bhat (Vocal) accompanied by Meghan Shrikhande (Sanvadini - Harmonium) and Nandkishor Banchhode (Tabla) at Saeed Tower II hall,  Dubai on 28th March 2014 with Deepa & Raju. This concert was organized by Sur Hindol.

Concert started with Raag Yaman Kalyan in madhya vilambit Jhap taal. Raag was then seamlessly  transposed into bandish.

Then he presented bandish in Raag Shuddha Kalyan in madhyalay Ek taal . Shuddha Kalyan is known as signature raag of Pt Bhimsen Joshi. Next offering, before interval, was Thumri 'Naina rasile' in Dadra.

'Bolan lagi koyaliya' was the next offering. Nandu played very well here.

Then he presented raagmala that started in in Raag Hindol. It is said that Ravan is the creator of Raag Hindol. (It is also said that Yaman and Malkauns raagas were created by Hanuman)

Then he presented 'Indrayani Kathi' an immortal bhajan of Pt Bhimsen Joshi in Raag Bhimpalas. Music direction was of Pu. La. Deshpande (पु. ल. देशपांडे) He sung it well but I could not help but compare with the original.

Then came 'Subhagyada Lakshmi' of Purandardas in Bibhas. He presented a few variations that were not included in the recorded sound track.

Concert ended with Bhairavi 'Jo bhaje Hari ko sada' and 'Mile sur mera tumhara'

Shri Upendra Bhat is a disciple of Pandit Bhimsen Joshi. His singing style is very similar to Panditji. He sings very well but age factor was evident.

Shrikandeji's sanvadini was very good. He was applauded by Upendraji multiple times. He caught every firki and murki thrown at him by the singer expertly and followed him precisely. The instrument, however, was not of concert quality.

Nandu's tabla was very good, especially his vilambit taals. He was never short of talent, now he is comfortable while accompanying big names.

Concert started half an hour late. Sound system was trouble free. Upendraji told some incidents from his guru Pt Bhimsen Joshi's life emphasizing his greatness and humility. He also expressed regret about declining quality of music now a days. I had a previledged seat less than 2m away from Upendraji.

A good concert. Rating 8/10.

Vidushi Jyoti Hegde (Rudraveena & Sitar), Mrinalini Kotur(Sitar)

Mandar's concert report

Attended Rudraveena + Sitar concert of Vidushi Jyoti Hegde (Rudraveena & Sitar), Mrinalini Kotur (Sitar) and Nandkishor Banchhode (Tabla) at ISC, Abu Dhabi on 22nd March 2014 with Patil, Sambhaji, Banchhode, Kumar, Gotimukul, Pawar, Oka families, my family and Raju. This concert was organized by Anubhooti.

This was first international performance of Jyotiji, first concert of Anubhooti and first Rudraveena concert in UAE. Before the start Jyotiji introduced Rudraveena. Rudraveena is considered grand mother of all stringed instruments but  has unfortunately become a rare instrument today.

Concert started with Raag Marwa on Rudraveena in Chutaal. She presented Alap, Jod, Jhala with tabla  instead of traditional Pakhawaj.

It is said that Rudraveena needs rasiks who are trained to listen. Playing in front of amature audience was a daring act. But the audience loved it. Jyotiji switched to Sitar after this and was joined by Mrinaliniji. Remaining concert was Sitar jugalbandi.

The ladies first played Raag Durga in Tritaal. This was traditional rendering of raga in Alap, Jod, Gat & Jhala. Bandish in madhyalaya and drut trital. Audience liked it so much that the applause continued for more than a minute.

Next offering was Raag Bageshree in Ektal and then in drut Teental. Audience liked this one too. Then the artists presented a light composition in Mishra Kirwani.

Concert ended according to the tradition with Bhairavi.

Audience was spellbound and did not move till the end. Mrinaliniji's Sitar had more bass whereas Jyotiji's Sitar was sharper. Jyotiji is well known as a Rudraveena player but she is equally fluent with Sitar. There was a good understanding and synchronization between the ladies that comes after years of practice together. Mrinaliniji also plays very well but played second fiddle (no pun intended) to Jyotiji today.

I had watched Nandkishor last when he accompanied Shri Chirag Katti. His performance today was decidedly better and he appeared more comfortable with Jyotiji and Mrinaliniji. He played aptly. No more, no less.

The concert went on for two and half hours but no one realized how time flew by.

An excellent concert. Rating 9.5/10.

Disclaimer: I am founder member of Anubhooti.

Zhakir Hussein (tabla)

Attended 'Nirvana 2014' a republic day special concert of Zhakir Hussein (tabla), Louis Banks (piano), Shankar Mahadevan (vocal), Taufiq Qureshi (multiple purcussion instruments) and Niladri Kumar (sitar & zitar) at Madinat Arena, Dubai on 25th January 2014 with Aditi, Thangaokar family, Pooja, Prachi, Prakash, Vijay, Pawar and Raju. This was the second time I was witnessing live performance of 'The Legend' Zhakir.

Concert started with solo performance of Zhakirji. It's amazing to see him playing extremely difficult pieces effortlessly. Wherever his fingers danced, they created magic. Fabulous!!! This start set the tempo of the concert.

Then came an overture called 'dove' a joint performance by Zhakirji, Louis Bank, Niladri and Taufiqji. A section of this piece somehow reminded me of Mongo Santamaria's 'watermelon man'.

Zakir and Louis were joined by Shankar Mahadevan for next performance 'color of love' followed by 'shadows'. Shankar did not sing any song, he just recited the bols (बोल).

Next piece was called 747 by Louis, Toaufiq and Niladri on 'zitar' an instrument he invented by combining sitar and guitar To play fusion and western music. The instrument sounds different. Niladri's fingers fly!

Next piece was played by Louis, Niladri, Taufiq & Zhakir with spotlight on each one, one by one. Taufiqji played his signature vocal instrumental and was applauded multiple times. He also made audience to play rhythm (clap) with him.

Next performance was jugalbandi between Shankar and Zhakir. Started with south Indian classical and migrated to north Indian thumri composed by Zakirji (kori chunar mori..), jocularly dubbed as masala dosa + mutton biryani.

Next was a composition called 'Doors of desire' by Louis, Shankar, Zhakir and Taufiq.

Grand finale was brought up by all the artists performing together. This included 'breathless' of Shankar.

Program started almost one hour late. It was a very big hall, so the cosy atmosphere was missing. Sound system of Mujib Dadarkar was excellent.

Interestingly all five did not play simultaneously till the last piece. All the artists were so good (एक से एक) that it was difficult to choose the best performer. I would like to attend Niladri Kumar's solo concert. Shankar's voice was not at its best today.

Again I came out of the auditorium with a feeling that it was a fabulous concert but there was not enough of Zhakir Hussein.

An excellent concert. Rating 8.5/10.