2015 year (ear) for music!!!

2015 year (ear) for music!!!

Year 2015 was a very good year for me as a music lover. I managed to attend a number of concerts in UAE and India.

The ones that I attended are:

1. Swar Nakshatra: Pradnya Deshpande & Pt. Hemant Pendse at Sanskritik Bhavan, Phaltan in Jan 2015.
2. Kalapini Komkali (Vocal) at Indian Embassy, Abudhabi in Feb 2015.
3. Ganesh (Violin) & Kumaresh (Violin) at ISC, Abudhabi in Feb 2015.
4. Kushal Das (Sitar) & Shashank Subramanyam (Flute) at ISC, Abu Dhabi in March 2015.
5. Harini Krishnan (Vocal) at residence of Sujatha & Ravi, Abu Dhabi in March 2015.
6. Shubhendra Rao (Sitar) in Alladiya Khan, Mumbai in April 2015.
7. Satish Vyas (Santoor) in Alladiya Khan, Mumbai in April 2015.
8. Gauri Pathare (Vocal) in Alladiya Khan, Mumbai in April 2015.
9. Monica Shah (Vocal) in Alladiya Khan, Mumbai in April 2015.
10. Sudheer Nayak (Harmonium) in Alladiya Khan, Mumbai in April 2015.
11. Raja Miya (Vocal) in Alladiya Khan, Mumbai on April 2015
12. Satish Krishnamurthy (Carnatic purcussion) in Alladiya Khan, Mumbai in April 2015.
13. Devaki Pandit (Vocal) in Alladiya Khan, Mumbai on April 2015
14. Sucismita and Debopriya (Bansuri) in Alladiya Khan, Mumbai in April 2015.
15. Rajrupa Chauduri (Sarod) at NCPA, Mumbai in April 2015.
16. Sangeeta Shankar (Violin) at NCPA, Mumbai in April 2015.
17. Ravindra Chary at ISC, Abu Dhabi in May 2015.
18. Lakhachi Goshta at Indian embassy, Abu Dhabi in Jun 2015
19. Bhavsargam - Hridaynath Mangeshkar (Vocal) at Balgandharva, Pune in Aug 2015.
20. Haye Akhtari at Madinat theater, Dubai in Sep 2015.
21. Marathi bana - Ashok Hande (Vocal) at Vishnudas Bhave, Vashi in Nov 2015.
22. Music trilogy at Nando's, Dubai in Oct 2015.
23. Anand Bhate (Vocal) at Indian Islamic centre, Abu Dhabi in Nov 2015.
24. Pankaj Udhas (Vocal) at WTC, Dubai in Nov 2015.
25. Zakir Hussain & Niladri Kumar at Shanmukhananda hall, Mumbai in Dec 2015.
26. Raghunandan Panshikar (Vocal) in Sawai Gandharva, Pune in Dec 2015
27. Pravin Godkhindi (Bansuri) in Sawai Gandharva, Pune in Dec 2015
28. Rajendra Gangani (Kathak) in Sawai Gandharva, Pune in Dec 2015
29. Ulhas Kashalkar (Vocal) in Sawai Gandharva, Pune in Dec 2015

HAPPY NEW YEAR TO ALL OF YOU.

Ulhas Kashalkar (Vocal)

Attended a concert of Pt. Ulhas Kashalkar (Vocal) accompanied by Taalyogi Pt. Suresh Talwalkar (Tabla) & Sudheer Nayak (Samwadini) on 12th Dec 2015 at Sawai Gandharva Bhimsen Mahotsav, Pune with Alhad kaka.

Ulhasji has received training in the Gwalior, Jaipur and Agra gharanas and blends style of these khayal gharanas. He is a disciple of Pt. Ram Marathe and Gajananbuva Joshi.

Ulhasji started the concert with raag 'Jog Kauns (जोग कंस)'. He presented what sounded like 'Sugar barava ayo re (सुगर बरवा आयो रे)' followed by 'Peed parayi (पीड पराई)'. He sung for about 40 minutes and showed his class in this limited time.

Second presentation was a Bandish 'Aai re kaise raat (आई रे कैसे रात)' in Raag Adana (आडाणा). He sung for only about 7-10 min.

Concert ended with the famous Bhairavi 'Jamuna ke teer (जमुनाके तीर)' upon farmaish by Sureshji that lasted for about 7-10 minutes.

It's known that Ulhasji is a very good singer. He is considered point of reference by many contemporary and junior singers. He acts what he sings, making it easy to understand.

Pt. Suresh Talwalkar is considered encyclopedia of taal. His books are considered Tabla gospel and his Tabla tuitions are considered one of the best. To see him perform was an opportunity of life time.

Sudheerji is an excellent harmonium player. He enhances the singers performance by his understanding and complimenting them with his 'singing' harmonium.

A lot of time was lost in changing the stage arrangement for previous Kathak concert and back again for this concert. The concert had to be wrapped up in one hour because of municipal restrictions to finish all programs by 10 pm. By the time performers and audience had warmed up, it was time to finish. What a shame. Either the time restrictions should be relaxed or time management has to be better.

Trivia - Sawai Gandharva festival is arguably the largest festival of classical music in the world. Attendance this year was around 15000.

Entertainment rating not allotted because of time restrictions.

Rajendra Gangani (Kathak)

Attended a concert of Pt. Rajendra Gangani (Kathak) accompanied by ensemble of musicians on 12th Dec 2015 at Sawai Gandharva Bhimsen Mahotsav, Pune with Alhad kaka, Dilip kaka and Vinita kaku.

Rajendraji is trained in the Jaipur Gharana by his father. He also has a rare mastery over the tabla, harmonium & pakhawaj.

Rajendraji made a swirling entry to the applause of audience. His energy is amazing. He danced almost for 1.15 hrs and also managed to say bols and make announcements. By having a dialogue with audience he took the audience with him on joy ride. He drew many applauses.

He displayed amazing foot work and graceful movements. He performed on Uthans (उठान), Parans (परन), Bandishes(बंदिश), Mukhdas (मुखडा) and tihais (तिहाई).

He even created sound of rain through sound of his ghungroos while dancing. He displayed various moods with his facial expressions, body language and dancing.

His jugalbandi and sawal-jawab with tabalji Azad were especially mention worthy.

Concert ended with a dance on bhajan of Surdas. This bhajan was commemorating Guru, a gurubhajan.

The live music with Lehra, Tabla and Vocals was good. Rajendraji frequently advised them about the speed he needed from them.

Trivia - Organizers had to stop the sale of tickets for the day due to huge audience response.

A very different, good, amazing and entertaining performance.

Entertainment rating 9/10.

Pravin Godkhindi (Bansuri)

Attended a concert of Pravin Godkhindi (Bansuri) accompanied by Ojas Adhiya (Tabla) and Mohsin Mirajkar (Tanpura) on 12th Dec 2015 at Sawai Gandharva Bhimsen Mahotsav, Pune with Makarand, Shilpa, Alhad kaka, Dilip kaka and Vinita kaku.

Engineer by education, Pravin is1st Indian Flautist to perform on the 8 Feet contrabass flute. Pandit Venkatesh Godkhindi (Flute - Kirana gharana) & Vidwan Anoor Ananth Krishna Sharma (Mridangam) are his Gurus. He plays in gayaki (गायकी) and gatkari or tantrakari (तंत्रकारी) style.

Pravin started the concert with Raag Maru Bihag (मारु बिहाग). First in vilambit Ek taal (विलंबित एक ताल) and then in drut teen taal (द्रुत तीन ताल). His rendition of raag was soulful and delicate. He played this raag in gayki style. This raag was a strong contender for the best performance of the day.

In second section he played Raag Rageshree (रागेश्री). First he played Aalap and then in Matt taal (मत्त ताल) followed by Teen taal (तिन ताल). He played this raag in tantrakari style and informed that he will bring in what he learned from his Mridangam Guru into Hindustani music. This section drew multiple applauses from audience. Audience especially liked their jugalbandi

Concluding the concert, they got up. Needless to say he got a standing ovation with shouts of 'once more'. Acceding to public demand he played Bhimsenji's famous bhajan 'Maze Maher Pandhari (माझे माहेर पंढरी) for another five minutes.

Pravin played extremely well. He displayed his command in both gayaki ang and tantrakari. He also played to the audience. It was my first time to hear Pravin live and I look forward to next opportunity. He had excellent understanding with Ojas which enhanced the performance manifold.

Ojas is a future star. His effortless Tabla playing was on display. He displayed amazing dagga play and was reportedly applauded. Ojas demonstrated why he has a great future.

Trivia - Organizers announced that the pendal for this Sawai Gandharv festival is being constructed by three generations of Gokhle family since inception i.e. 63 years. Wow.

A memorable concert.

Entertainment rating 9.5/10.

For more concert reports please visit
Mandar's Concert Reports
http://mandarconcertreports.blogspot.com/

Ragunandan Panshikar (Vocal)

Attended a concert of Ragunandan Panshikar (Vocal) accompanied by Tanmay Deochake (Samwadini), Prashant Pandav (Tabla) on 12th Dec 2015 at Sawai Gandharva Bhimsen Mahotsav, Pune with Makarand, Shilpa, Alhad kaka, Dilip Kaka and Vinita kaku.

Ragunandan Panshikar is a vocalist from Jaipur-Atrauli gharana. He is the son of the eminent Marathi stage actor Prabhakar Panshikar and a disciple of Gaan Saraswati Smt. Kishori Amonkar and late Gaan Tapaswini Smt. Mogubai Kurdikar.

Concert started with Raag Bhup (भूप). He presented 'Pratham sur saje (प्रथम सुर साजे)' in vilambit tritaal. As the raag progressed the beats became 1.25 and 1.5 times faster.

Then he moved seamlessly without break into the famous bandish (बंदिश) made famous by his Guru Kishoriji 'Sehela re aa mil ja re (सहेला रे आ मिल जा रे)'. Audience applauded the transition and start of bandish spontaneously.

He then asked audience for farmaish for concluding item. Audience demanded bhajan (भजन). He willingly fulfilled the request by inviting Mauli Talwalkar (A regular accompanist of Bhimsenji). The abhang e presented was 'Padmanabha Narayana (पद्मनाभा नारायणा)'.

Raghunandanji sung very well. His Aalap and taan (तान) were very good. He resisted the temptation of drut singing. It was my first time hear him and I would not mind another opportunity.

Prashant and Tanmay are well known names in classical music circles and they played to their reputation.

Trivia - The pendal constructed for the festival had an area of 90,000 sq ft. Being open air, the sound system was very good.

Entertainment rating 8.5/10.

For more concert reports please visit
Mandar's Concert Reports
http://mandarconcertreports.blogspot.com/

Zakir Hussain (Tabla) and Niladri Kumar (Sitar)

Attended a concert titled 'Upaj (उपज)' of Ustaad Zakir Hussain (Tabla) and Niladri Kumar (Sitar) on 10th Dec 2015 at Shanmukhananda Auditorium, Sion, Mumbai; with Ravikiran.

Concert started with Raag Shuddha Kalyan (शुद्ध कल्याण). Niladri played amazing Sitar especially in Aalap. He played the raag for one hour. Even Zakirji clapped at the end of this raag.

Artists indicated interval, but audience urged them not to take one. So the concert continued, though some of the audience decided to take their own interval.

After this pseudo interval Niladri played a beautiful raag. He did not tell the name and I could not recognize it. But it was very sweet nevertheless. He played for about half an hour. They played amazing jugalbandi and followed it up with Sawal Jawab and ended with a crescendo with thunderous applause.

Third composition was also a very good composition. Again he did not tell the name of raag and I could not recognize it. However we enjoyed it very much.

Concert ended with a Dhun (धुन) in Bhairavi (भैरवी). Audience enjoyed it as it was a known tune. During this Zakirji drummed directly on the mic to create rhythm. He also played bedam Chakradhar on Tabla. Dhun and concert ended with a long applause and standing ovation.

Niladri extracted and extruded notes from Sitar with minuscule movement of fingers. Some were so deep and in lower octave that I did not know they existed. Sometimes audience started to clap even before Niladri finished his minute variations and he had to tell them to wait till he had finished.

Zakirji, being the living legend he is, played a conventional accompanist. He stole his moments of glory but did not try to overshadow Niladri. A commendable restraint. His Tabla playing is legendary. Each bol was crystal clear, whatever the playing speed. He breaths rhythm.

Both artists had a very good understanding and enjoyed playing together. When artists enjoy, so does the audience. Both of them have lighting fast fingers.

Organizers had discouraged audience from using camera but the official cameraman was snapping photos merrily with flash disturbing the artists.

Concert started half an hour late but audience was still pouring in after that. Most of the audience was not dardi (दर्दी). Some times they disturbed performers by moving around and sometimes clapping to early.

It was a fantabulous concert and pure bliss. Niladri has a great future. Zakirji is Zakirji.

Entertainment rating 9.75/10.

Pankaj Udhas (Vocal)

Attended a concert of Pankaj Udhas (Vocal) accompanied by Vishal Dhumal (Keyboard), Nirmal Pawar (Dholak), Rashid Mustafa Thirakwa (Tabla), Nasir Sajjad Hussain (Mendolin), Rajendra Singh (Violin), Ninad Gulalkar (Flute) on 3rd Nov 2015 at World Trade center, DUBAI with Sameer, Pooja and my father.

Concert started with 'Aap jinke karib hote hai (आप जिनके करीब होते है)' followed by 'Niklo na benaqab jamana kharab hai (निकलो ना बेनकाब जमाना खराब है), Deewaronse milkar rona accha lagta hai (दीवारोंसे मिलकर रोना अच्छा लगता है), 'Sabko maloom hai mai sharabi nahi (सबको मालूम है मैं शराबी नहीं)', a Gazal of Anwar Farukhabadi. He informed audience that he has done some experimentation with this gazal by adding a kata (कता) with every sher (शेर).

He presented a very meaningful Najm (नज्म) of Zafar Gorakhpuri 'Ek wo bhi that jamana, Ek ye bhi hai jamana (एक वो भी था जमाना, एक ये भी है जमाना) & followed it with Aur ahista kijiye batein (और आहिस्ता किजीए बाते), 'Thodi Thodi piya karo (थोडी थोडी पिया करो). Then he presented one of his most famous gazal 'Chandi jaisa rang hai Tera (चाॅंदी जैसा रंग है तेरा)' amidst big applause from audience. This was interval.

First song after interval was 'La pila de sakia (ला पिला दे साकिया)' followed by Jiye to Jiye kaise (जिए तो जिए कैसे)' from movie Saajan, then he presented what is probably his most famous song 'Chitthi aai hai (चिठ्ठी आई है)' on public demand. Another farmaish was 'Tum kitni sundar ho (तुम कितनी सुंदर हो)'.

He then presented the medley of various farmaishes. 'Dil deta hai ro ro duhai (दिल देता है रो रो दुहाई)', 'Aaiye barishon ka mausam hai (आईए बारिषों का मौसम है)', 'Sharab cheez aisi hai (शराब चीजही ऐसी है)', 'Aj fir tumpe pyar aya hai (आज फिर तुमपे प्यार आया है)', Ai game jindagi kuch to de mashwara (ऐ गमें जिंदगी कुछ तो दे मशवरा) and ended the medley and concert with his famous 'Ke ghungroo tut gaye (के घुंगरू टूट गए)'.

Pankaj Udhas sung some pre determined songs, some he sung upon farmaish and also sung medley. Needless to say he was too good. What was better was that he helped audience enjoy by explaining difficult Urdu words, drawing their attention to maqta (मक्ता), emphasizing important words etc.

When one sings Gazal, the wording is very important and the way they are put forth to reach the heart of audience make them golden. Pankajji does it deftly.

It was a big troupe of musicians. All musicians were good and shone when their opportunity came. Tabalji was given a little too much leeway.

Sound system was good. I would have preferred the volume of instruments a notch lower as it sometimes masked the minute variations of vocals.

Lighting on stage was good. With so many artists focus light was used effectively for audience to concentrate on the correct artist. However lighting on audience was bad. During the program glaring light was thrown on the audience for no apparent reason. It was irritating and also prevented taking good photographs.

Auditorium was good. It was a large auditorium but all seats were at same level making it difficult for audience in rows behind to see clearly. Gazal requires cozy atmosphere. That was missing due to the large size of auditorium. Organizers had the foresight of arranging drinks at the concert. Gazal and Jam (जाम) always go hand in hand.

Entertainment rating 8.5/10.

Anand Bhate (Vocal)

Attended 'Diwali sandhya', a concert of Anand Bhate (Vocal) accompanied by Bharat Kamath (Tabla), Suyog Kundalkar (Harmonium) & Rajesh Damle (Narration) on 13th Nov 2015 at Indian Islamic center, Abu Dhabi with friends and family. The concert was organized by Maharashtra mandal, Abu Dhabi (MMAD). This concert was a tribute to Narayan Rajhans aka Balgandharv (बालगंधर्व) and Pt. Bhimsen Joshi (पं. भीमसेन जोशी).

First part of the concert was dedicated to Balgandharv (बालगंधर्व). Concert started with famous nandi (नांदी) 'Panch tunda nara runda mala dhar (पंच तुंड नर रुंड माळ धर)' followed by natyageet 'Ya nava naval nayanotsava (या नव नवल नयनोत्सवा)'. This section concluded with 'Vad jau kunala sharan (वद जाऊ कुणालाकुणाला शरण)' from play Sangeet Saubhadra.

Second part of the concert was dedicated to Bhimsenji. He started with 'Ramya hi swargahun Lanka (रम्य ही स्वर्गाहुन लंका)' from movie 'Seeta swayamwar' which has a classical base. Next was famous Bhavgeet  'Sakhi mand zalya taraka (सखी मंद झाल्या तारका)' written by Sudheer Moghe. This was a rare song as the more famous version is sung by Sudheer Phadke. Here he agreed for a 'once more' demand.

Next song type was abhang. There are so many that it's difficult to choose, hence he concluded the concert with a medley of abhang (अभंग श्रृंखला) that included Indrayani kathi (इंद्रायणी काठी), Maze maher pandhari (माझे माहेर पंढरी). He ended the medley with 'Chinmaya sakal hridaya (सचिनच्या सकल ह्रदया)' of Balgandharv which drew applause the moment he started it.

Anandji is an excellent singer. He sung all the songs well and made difficult ones look simple. It was evident why he is called Anand gandharv. The firat (फिरत) in his  voice is amazing. He also presented Gandharv gayki and was applauded by audience as well as musicians many times. However, I would have liked to hear a couple of songs in lower scale as well.

Musicians are well known names and were obviously good. Narrator had little scope due to shortage of time, but he made a good impression.

Audience demand of 'once more' was mostly ignored. It appeared that this was because lack of time. This concert formed part of overall program which also included some comedy items. That left little time for the concert.

Sound system was bad. Acoustics were also not good. The words, when spoken or sung fast, were garbled. The sound also echoed thereby making the experience less enjoyable and irritating the rasiks. Such concerts should be arranged in better auditoriums.

MMAD did a good job of organizing the concert. This hall does not have fixed chairs. The committee members did a good job of organizing the chairs, numbering them and making the program successful.

Audience was unsatisfied at the end. This was not because of the quality of the concert but because of lack of enough time. They found it curtailed. Audience left with a feeling of 'Ye dil mange more (ये दिल माँगे मोर)'.

Entertainment rating 8.5/10.

Musical trilogy - Girish Pande (Vocal), Parag Dhadphale (Tabla) & Dharitree Joshi (Vocal)

Attended a concert of Girish Pande (Vocal), Parag Dhadphale (Tabla) & Dharitree Joshi (Vocal) titled 'Musical trilogy'; accompanied by Meghan Shrikhande (Harmonium) & Somdatta Basu (Harmonium) on 6th Nov 2015 at Nando's restaurant hall, Dubai with Nandu, Jayant, Vivek and Satya. The concert was organized by Sur Hindol.

Concert started with Girish Pande's vocal accompanied by Parag Dhadphale and Meghan Shrikhande. He presented 'Akhiyan taras rahi' in Raag Maru Bihag (मारू बिहाग). During Aalap, the instrument volume was masking the vocal. Then he presented bada khyal 'Mora man mane na'. He concluded his section with 'Re balamwa mora' in Raag Kalawati (कलावती) followed by Marathi song 'Pratham tuj pahata'. Public demanded another song and he complied by presenting bhajan 'Ram ka gungan kariye'.

Girish sung technically correct. His Aalaps were especially good. However to me he appeared a little bit subdued. Was it because he was extra cautious or was it because of performance jitters? He appeared more at home in last two compositions. I know that he can sing even better.

Parag Dhadphale presented solo Tabla in second section. Somdatta Basu was on harmonium. He displayed humility by attributing all that would be good to his Guru and all that would be wrong to himself. His first presentation was 'Teen taal (तीन ताल)'. While audience anticipated every time, he took his own sweet time to come on sum (सम) initially. Then he played a traditional Kayda (कायदा) of Delhi gharana (दिल्ली घराना) bestowed by his Guru Pt Suresh Samant and another Kayda of Delhi guarana composed by his Guru Sudheer Mainkar. Then he presented a very old, sweet and complicated Kayda, a Rachana of Panditji followed by three compositions non stop and mesmerized the audience. Then he presented a composition that could be a fight between school kids followed by a composition of Samta Prasadji. Next he presented a Rachana (रचना) from Punjab, a few tukdas and farmaish chakradar, a novelty. He concluded with a seven matra composition from Banaras.

Parag is a well known name in Dubai and he played to his reputation of being one of the best Tabalji in Dubai. He played excellent tabla and was applauded many times. It was a joy.

Dharitree Joshi-Bapat was the performer of final session. She started the concert, expressing her respect to Guru, with Raag Bageshree (बागेश्री) in Jhumra taal. She presented Khyal (ख्याल) 'Dhoondh rahe naina' followed by drut 'Sumaran karat rahat nisadin' and tarana. Then she presented 'Kaise kaise bolat' in Raag Nat Bihag (नट बिहाग), a speciality of Agra gharana, followed by 'Jhanjhan jhanjhan payal baje'. Her next item was 'Hori hori hori khelat Nandlal', a Chatrang (चतरंग) in Adana.

Due to public demand program concluded with a natyageet 'Guntata hriday he' by Meghan Shrikhande. Although he sung well, it was out of sync with the theme of the concert. He was reluctant for this very reason but eventually complied.

Parag, Somdatta and Meghan were very good as accompanists. They did not try to outdo the main artists but demonstrated their skills and were appreciated by the singers and audience.

It was a small audience, sound system behaved, temperature was a bit high. With three performers, it was essential to have proper time management. This was not controlled and the concert became too long. Spectators started to leave in the third session. I too had to leave before formal closure.

Entertainment rating 6.5/10 but considering that the artists were local it should be upgraded to 7.5/10.

Marathi bana (मराठी बाणा)' by Ashok Hande

Attended dance & music program titled 'Marathi bana (मराठी बाणा)' presented by Chaturang, written directed and anchored by Ashok Hande on 4th Oct 2015 at Vishnudas Bhave natyagruha, Vashi with Ravi and Akshata. This was the 1701st show of the program. It was a thematic program that displayed the cultural heritage of Maharashtra.

Program initiated with start of the day in a village with bhupali (भूपाळी) 'Uthi Uthi Gopala (उठी उठी गोपाळा)' followed by 'Vasudevachi swari (वासुदेवाची स्वारी)', Abhang (अभंग) 'Rup pahata lochani (रुप पाहता लोचनी)' then it moved to the songs sung in the fields or Shetawarchi gani (शेतावरची गाणी) 'Jiwacha maitar Dhavlya n Pawlya (जीवाचा मैतर ढवळ्या न् पवळ्या)', 'Chal gadi Dada bhale re (चल गडी दादा भलं रं)', 'Sumbarane mandle ga (सुंबरानं मांडलं गा)'. All this while dancers depicted various activities that take place in the village and fields like milking cows, making buttermilk, grinding cereals, watering plants, prayers, works in the field, tilling, cutting etc. The stage was full of activities.

The theme then moved from village to forest with the forest dwellers or adivasis (आदिवासी) and their songs ''Gorya deha warati kanti (गोऱ्या देहावरती कांती)', 'Gadad jambhle bharle abhal (गडद जांभळं भरलं आभाळ)', 'Amhi Thakar thakar (आम्ही ठाकरं ठाकरं)' and ' Lingobacha dongur abhali gela (लिंगोबाचा डोंगुर आभाळी गेला)'. The dances in this section were very energetic and well choreographed. The last one received a 'once more' demand that was promptly fulfilled.

This was followed by 'Malyachya malyamandi (माळ्याच्या मळ्यामंदी)', 'Shet bagha alaya rakhnila (शेत बघा आलंया राखणीला)' and then the theme moved to Konkan with a medley of 'Gomu maherla jate ho nakhwa (गोमू माहेरला जातेहो नाखवा)', 'Ekwira aai tu dongrawari (एकवीरा आई तू डोंगरावरी)', 'Walhaw re nakhwa ho (वल्हव रे नाखवा हो)', 'Mi hai koli (मी हाय कोली)', 'Kashi zokat chl'li kolyachi por (कशी झोकात चालली कोल्याची पोर)' and 'June waris gele re (जुनं वरीस गेलं रं)'.

Mood then changed to bhaktiras with 'Bolawa Vitthal, pahawa Vitthal (बोलावा विठ्ठल, पहावा विठ्ठल)'. The singer displayed full range of his musical armoury and left the audience spellbound. Then came a Gawlan 'Nesle Ga bai Chandrakala thipkyachi (नेसलेगं बाई चंद्रकळा ठिपक्याची)'.

Then they presented a prose section of parody with a man dressed as lady and presented a Bharud (भारुड) 'Tula burgunda hoil (तुला बुरगुंडा होईल)'. In this prose section they presented comments on the current affairs, movies, TV serials, politics and culture. They even sang a stanza of 'Shantabai (शांताबाई)', a song that has gone viral this year in Ganapati. Although audience liked the section it slowed down the build up of songs and dances and the tempo of the program. They could have done away with it.

Festival songs were next with 'Govinda re Gopala (गोविंदा रे गोपाळा)' where they created a Dahihandi (दहीहंडी) with three layers of men, 'Sukhakarta dukh harta (सुखकर्ता दु:खहर्ता)' of Ganapati, 'Gana dhaw re mala paw re (गना धाव रं, मला पाव रं)', and 'Lakh Lakh chanderi tejachi (लख लख चंदेरी तेजाची)' where the dancers danced in the dark with lamps in hands creating beautiful formations. Audience applauded them wholeheartedly. That was the time for interval.

After the interval someone whistled from audience at the wrong time. Anchor Ashok Hande was agitated and lost his temper and then forgot his dialogue. An artist of his statute losing temper like and threatening the person was the black mark on the program.

First item after interval was a medley of marriage related songs like 'Pratham tuj pahata (प्रथम तुज पाहता)', 'Kay bai sangu (काय बाई सांगु)', 'Lagin Maze tharle (लगीन माझं ठरलं)', 'Zala sakharpuda (झाला साखरपुडा)', 'Ya go dandyawar (या गो दांड्यावर)'. The bridegroom and his warat (वरात) entered from audience for this song and gave the audience a new high. It continued with 'Runzun wajantri wajati (रुणझुण वाजंत्री वाजती)', 'Saptapadi he (सप्तपदी हे)' and 'Ganga Yamuna Dolyat ubhya ka (गंगा यमुना डोळ्यात उभ्या का)'. All this while marriage took place on the stage complete with bride's sendoff (पाठवणी).

Medley of post marriage events was next with Manglagaur (मंगळगौर) 'Ghagar ghumu de (घागर घुमूदे)', 'Pori pinga ga pori pinga (पोरी पिंगा गं पोरी पिंगा)', 'Ailoma pailoma (ऐलोमा पैलोमा)' and 'Fu bai fu (फू बाई फू)'. All this while respective dance items were performed.

The next theme was Village fair or Jatra (जत्रा). 'Jiva shivachi bail jod (जीवा शिवाची बैल जोडं)' and 'Bandobast kela mhanun evdha (बंदोबस्त केला म्हणून एवढा)'. When there is Jatra, there is Tamasha (तमाशा). They presented three lavni's (लावण्या) with 'Piklya panacha deth ki ho hirwa (पिकल्या पानाचा देठ की हो हिरवा)' where the dancer presented an excellent solo dance. She was wearing fake ghungroo but had she been wearing real ones she would not have struck any sore note. 'Padala piklay amba (पाडाला पिकलाय अंबा)' and 'Kheltana rang bai holicha (खेळताना रंग बाई होळीचा)' completed the trio. 'Once more' demand for later was also promptly met.

Next item was a medley of songs of various kuldaivat's (कुल दैवतं) of Maharashtra. 'Pahile naman (पहिलं नमन)', 'Ganapati ala n nachun gela (गणपती आला न नाचुन गेला)', 'Jejurichya khanderaya (जेजुरीच्या खंडेराया)', 'Amhi Ambeche gondhali (आम्ही अंबेचे गोंधळी)' - a gondhal (गोंधळ), 'Udhe ga ambe udhe (उधे गं अंबे उधे)', 'Jogwa de (जोगवा दे)' and 'Mahishasur mardini (महिशषासूर मर्दिनी)'. The dance poise to end this was very good.

Program ended explaining status of Marathi identity as 'Andhala martoy dola (अंधळा मारतोय डोळा)' and invocation to Shivaji to come back to resurrect Marathi bana 'Marathi paul padte pudhe (मराठी पाऊल पडते पुढे)'.

They displayed the all the song and dance repertoire of Maharashtra from bhupali, Shetawarch gani, Abhang, Festival songs, Vasudevachi, Gondhal, Powada, Bharud, Jogwa, Bhavgeet, Samargeet, Gan, Gawlan to Lawni. This was covered with traditional songs as well as film songs.

All the musicians, singers and dancers were on the stage. It limited the space available for the dancers. But dancers used every inch of the stage effectively and did not collide with anything or anyone despite such energetic dances. Full marks to the choreography, difficult moves and very high energy level. Wow!

Singers were very good. All singers, except one, were in tune and while watching dances one forgot that this is not a recorded song but a live one. However some singers were conversing with each other in the background which avoidable. All female singers wore six meter (सहावारी) sari, some with 9 meter (नऊवारी) sari would have been welcome.

Musicians were also good. They even used acoustic guitar and electric guitar in the ensemble. Guitars blended seamlessly in traditional songs. Only thing that was sorely missed was Bansuri (बासरी). Bansuri pieces were played on keyboard. Had it been the real instrument it would have multiplied the joy!

Sound was flawless. Special mention should go to lighting system. It was smart lighting enhancing the impact. Not only light but the absence of it that is darkness was very effectively used to take positions. Full marks to the fabulous lighting!

There were two 'once mores' and I am sure they were rigged. Organizers had pre determined them and their accomplices called for them. Such perfect coordination and improvisation is not possible spontaneously. More over they ignored all other 'once more' calls from audience.

With houseful auditorium and 125 artists involved in the show stage was always full but not crowded. So many things were happening on the stage that audience did not know where to look. It was spectacular!

A high octane performance. What a spectacle! Don't miss it.

Entertainment rating 9.5/10.

Haaye Akhtari (हायअख्तरी) by Malhaar

Attended a thematic program titled 'Haaye Akhtari' (हायअख्तरी), celebrating 100 years of Begum Akhtar's musical legacy presented by Malhaar on 19th Sep 2015 at Madinat theater, Dubai with Nandu, Jayant and my father.

Begum Akhtar was called 'Malika-e-Gazal (मलिका ए गझल)' and was known for her Gazals, Thumris and Dadras. She was instrumental in bringing singing from 'Tawayafkhana' to respect.

Program started from Begum Akhtar's childhood and took us through death of her twin sister, her musical education, her success as Akhtari bai Faisabadi, her rape, birth of a daughter from the rape, her mother's decision to make her daughter her little sister, move to Calcutta, success of her LPs, her film career, her decision to quit films and later quit singing, her marriage, Indian independence, death of her mother, restart of her singing (her life), her performance at Shimla political summit and her death during a concert.

The lighthouse in her life was her mother who stood by her in thick and thin, supported her, took care of her, guided her and accepted public shame for her.

A number of taans (तान) and mukhdas (मुखडा) were presented along with a few full songs. First full song was a Thumri 'Ankhiyan nind na aayi (अखियन् निंद ना आई)' in Mishra Tilang. Balamwa tum kya jano preet (बलमवा तुम क्या जानो प्रीत). Aalam hai tanahai ka (आलम है तनहाईका). Bahut kathin hai dagar panghatki (बहुत कठिन है डगर पनघट की). Deewana banana hai to deewan bana de (दीवाना बनाना है तो दीवाना बना दे). Koi keh de gulshan gulshan (कोई कह दे गुलशन गुलशन), this was presented with an excellent dance. Part Bengali party Hindi song Koyaliya (कोयलिया). Cha rahi kaali ghata (छा रही काली घटा). Mere hamnafas mere hamnawaz (मेरे हमनफस मेरे हमनवाझ)
Ulti ho gayi sab tatbirein (उलटी हो गई सब ततबीरें). Wo Jo gum mein tumne (वो जो गम में तुमने) with dance. Hamri atariyape awo sawariya (हमरी अटरीयापे आवो सावरीया ), a Dadra. E mohobbat tere anjam pe rona aya (ऐ मुहोब्बत तेरे अंजामपे रोना आया).

The stage arrangement was very interesting. Eight singers were seated on the left, six musicians on the right and center and front portion of the stage was used for narration & drama. This program was a demonstration of how to make effective use of stage. Despite so many persons on stage, the focus remained where it should with the help of light and sound.

When you present a thematic program that contains acting, music, dance, shero-shayri and narration it's very important to maintain right balance of all and each of the faculty has to be equally good. Malhaar achieved it.

Singing and singers, Music and musicians were good, especially Tabla, Sarangi and Harmonium. Dance and choreography was excellent but at times was short on synchronization. Direction (Dance, Rhythm and General) was very good. Sound and lighting was superb and contributes a lot in the success. Anchor did just that. He anchored the program and played small roles moving in and out of roles and anchoring seamlessly. He also had good command on Urdu. Script was the soul of this show. Begum Akhtar's life is not a drama, to keep the balance of story and music was a walk on right rope and was gracefully achieved.

All the artists were from UAE. It was demonstrated that there is no shortage of talent outside India.

Begum Akhtar's singing was liked by one and all but her speech (audio was played) was also musical. Actress playing Akhtari was not a singer, had she been a singer it would have created more impact. More use of shadows would have enhanced the effect. I would have enacted Akhtari's death in the show, knowing that she died while trying to achieve a high note that she was not able to dur to her advanced age.

Entertainment rating 8.75/10.

Bhava Sargam (भावसरगम) - Pt. Hridaynath Mangeshkar (पं. ह्रदयनाथ मंगेशकर)

Attended concert titled 'Bhava Sargam' (भावसरगम) of Pt. Hridaynath Mangeshkar (पं. ह्रदयनाथ मंगेशकर) (Vocal) accompanied by Radha Mangeshkar (Vocal), Dr. Rajendra Durkar & Vishal Gandatrawar (Percussions) on 29th Aug 2015 at Balgandharv Rangmandir, Pune with Makarand, Shilpa and my father-in-law.

Concert started with a virani (वीराणी) from Dnyaneshwari (ज्ञानेश्वरी) 'Awachita parimalu (अवचिता परीमळु)' followed by 'Runuzunu runuzunu (रुणुझुणु रुणुझुणु )' again from Dnyaneshwari. Then he took a song of a completely different mood 'Tu tenvha tashi (तू तेंव्हा तशी)' followed by 'Lajun hasne an (लाजून हासणे अन्)'. Then he presented a farmaish 'Jiva shivachi bail jod (जीवाशिवाची बैल जोडं)' followed by abhang 'Are are Dnyana zala (अरे अरे ज्ञाना झाला)'. He quipped that this is one of the rare Dnyaneshwar abhang that does not contain his namamudra 'Bap Rakhuma Devi waru (बाप रखुमा देवी वरू)'.

His daughter, Radha, then joined him. They sang 'Maze Rani maze moga (माझे रानी माझे मोगा)', Bha Ra Tambe's 'Mawaltya Dinakara (मावळत्या दिनकरा)', Arti Prabhu's 'Don he ahet pele (दोन हे आहेत पेले)', Suresh Bhat's gazals 'Kenvha tari pahate (केंव्हा तरी पहाटे)' and unknown 'Ujadlyawari sakhya (उजाडल्यावरी सख्या)' followed by 'Sur ale juluni (सूर आले जुळुनी)' before interval of the program.

He was out of tune (बेसुर) many times in the first half. 79 years of age has had an effect on his singing. The song 'Mawaltya dinakara' describes the situation aptly. I was really worried about the proceedings and hoped second half would be better.

Post interval session started with 'Mazya saranga (माझ्या सारंगा)' followed by 'Amhi thakar thakar (आम्ही ठाकरं ठाकरं)', 'Gorya deha warati kanti (गोऱ्या देहावरती कांती)', 'Nabha utaru ale (नभ उतरू आलं)'. Radha started this song in high pitch and struggled when it reached even higher. This was followed by medley of 'Chla jaiyo bedarda (चला जईयो बेदर्दा)' to 'Jambhul piklya zada khali (जांभुळ पिकल्या झाडाखाली)' to 'Koyal bole rama (कोयल बोले रामा)', to 'Gulabi chire wala (गुलाबी चिरेवाला)' and back to 'Jambhul piklya (जांभुळ पिकल्या) '.

He then presented 'Kesariya balama (केसरीया बालमा)'. This was very good. Panditji then provided Makarand with a memorable gift by singing his farmaish 'Mharari giridhar gopal (म्हारारी गिरीधर गोपाल)'. Then he presented excellent rendition of 'Malaun tak deep (मालऊन टाक दीप)'. It was so heart felt and soulful that it gave goose pimples to the listeners. It was by far the best item of the evening. Audience appreciated it with a very long applause. Panditji's humility was evident when he gave all credit to his Guru. Then he presented 'Purtata mazya vyathechi (पूर्ततता माझ्या व्यथेची)' and 'Ti geli tenvha rimzim (ती गेली तेंव्हां रिमझिम)'.

In the last section he started with bandish 'Rasoolillah (रसूलिल्लाह)', then seamlessly moved into 'Dayaghana (दयाघना)' and then back to 'Rasoolillah  (रसूलिल्लाह) '. Concert was concluded with 'Aji soniyacha dinu (आजी सोनीयाचा दिनु)' from Dnyaneshwari.

Second half salvaged the situation. I did not repent the decision of attending.

Panditji encouraged the audience for farmaish and promised to fulfill as many as possible, but in reality fulfilled only those he wanted.

Many of the songs he sung were different from the recorded version. So it would have been disappointing for those who wanted it to match recorded version but those who relish improvisations would have liked it.

Radha was good. She had some difficulty while singing in higher scale. One should not compare her with her legendary aunts (Lata, Asha and Usha) as she is no match, then you like her.

Dr.Durkar and Vishal played very well and were applauded. There were two percussionists but they were placed on right side of the singer instead of either side. Curious.

This auditorium was a point of reference once upon a time. But now it's in a sorry state with pan stains and state of neglect, though the seats are still good.

Entertainment rating: first half 5/10, second half 8/10.

Lakhachi goshta - Raja Paranjpe

Attended concert titled Lakhachi Goshta (लाखाची गोष्ट) of Sanjeev Mehendale (Vocal) & Minal Ponkshe (Vocal) accompanied by Vikram Bhat, Dipti Kulkarni, Anay Gadgil, Aditya Apte (Various instruments) & Manjiri Joshi (Anchor) on 13th Jun 2015 at Indian Embassy auditorium, Abu Dhabi with Aditi and Sucheeta. This concert was organized by Maharashtra Mandal.

This was a thematic program on the great Marathi actor - director Raja Paranjpe. It included commentary, clippings and songs from his films. Songs in his movies were not pasted haphazardly, but took the story forward. A number of them were penned by Ga. Di. Madgulkar (ग दि माडगुलकर) and composed by Sudhir Phadke (सुधिर फडके). Some of his movies are: Jagachya pathivar, Lakhachi Goshta, Suvasini, Jeevacha sakha, Aadhar, Padchaya, Pedgawche shahane, Pudhche Paul, Balidan, Uun paus, Pathlag etc.

Program started with Guruvin kon dakhawil wat (गुरुविण कोण दाखविल वाट) and it was followed by Kal mi Ragunandan pahile (काल मी रघुनंदन पाहीले), Maza hoshil ka (माझा होशील का), Hridayi preet jagte Janata ajanata (ह्रदयी प्रीत जागते जाणता अजाणता), Dolyat wach mazya (डोल्यात वाच माझ्या), Chalali Shakuntala (चालली शकुंतला), Kadhire yeshil tu (कधीरे येशिल तू), Tula pahte re (तुला पाहते रे), Year nath ata (येणार नाथ आता), Tya tithe palikade (त्या तिथे पलिकडे), Jag he bandishala (जग हे बंदीशाला).

Then they presented Baithakich lawni Kaho dharila majwar raag (काहो धरिला मजवर राग) it was followed by Ha maza marg ekala (हा माझा मार्ग एकला), Santh vahte Krishnamai (संथ वाहते), Khedya madhle ghar kaularu (खेड्या मधले घर कौलारु), Uddhava ajab tuze sarkar (उद्धवा अजब तुझे सरकार), Ya dolyanchi don pakhre (या डोल्यांची दोन पाखरे), Ek dhaga sukhacha (एक धागा सुखाचा), Thaklere Nandlala (थकलेरे नंदलाला), Jalimandi pikali karwande (जालीमंदी पिकली करवंदं), Ain dupari Yamuna tiri (ऐन दुपारी यमुनातिरी), Zala mahar pandharinath (झाला महार पंढरीनाथ).

Program ended with Bai mi vikat ghetla Shyam (बाई मी विकत घेतला श्याम).

There were more female songs than male songs, but song distribution could have been better. At times there were three continuous songs to same female singer. Singers omitted the last stanzas of a number of songs.

Meenal has a hard voice and though she got 'once more', she struggled a bit while expressing subtle feelings in soft songs in lower octaves.

Sanjeev was good. On 'ha Maza marg ekala' he imitated hiccups, cough and grunts during the song to perfection. Obviously he got 'once more'.

Manjiriji's commentary was controlled and supporting. She also sung two songs and drew 'once more' for one. She should have sung more. I felt that the commentary lacked information about Raja Paranjpe, the person. Some personal photographs would have been welcome too.

All the musicians were good and were applauded. Program started somewhat late. Sound system was good and audience was happy.

It was an innovative concept and was executed flawlessly. A good program.

Entertainment rating 8.5/10.

Ravindra Chary (Sitar)

Attended concert of Ravindra Chary (Sitar) accompanied by Satyajit Talwalkar (Tabla) organized by Anubhooti at India Social and Cultural center, Abu Dhabi, on 30th May 2014.

Raag of the concert was Raag Yaman.

First Raviji presented Aalap, Jod, Chanda and Jhala. Followed by Gat composed by Ustad Shahid Paevez in Rupak taal.

He then presented a very old Bandish from Kirana gharana in Teen taal.

Composition of Ustad Wahid Khan (grandfather of Ustad Shahid Parvez) was next presentation.

From there they entered seamlessly into Sawal-Jawab (सवाल-जवाब). The artists got a standing ovation for it.

Finally he switched to light music and played dhun (धुन). It was a medley of Assamese, Rajastani, Afghani dhuns.

Raviji is an excellent Sitar player and he demonstrated his finess and command. I came to know that he is an equally good harmonium player. His humility was evident when he expressed gratitude that a top artist like Satyajit is accompanying him and appreciated the hospitality of Anubhooti.

Raviji drew first applause within a minute of starting the concert. And the applauses continued till the end. He has composed a special Bandish on the day of concert in Raag Yaman and titled it 'Anubhooti' in honor of the organizers. It was a privilege, however he forgot to play it. Audience was disappointed.

Satyajitji demonstrated why he is considered one of the foremost tabla exponents today. His economy of movement fascinated me. He played a bouquet of variations with bal (बल) on different bol (बोल). This was a learning experience for students of Tabla. He also drew repeated applauses.

Both artists were visibly enjoying playing with each other and that doubled the joy of audience. People congratulated the artists and organizers. Audience was not ready to come out of the mood for a long time.

Sounds system was optimum. With four programs going on at the same time sound engineer was stretched.

A magical concert. It was an Anubhooti (अनुभूती).

Entertainment rating 9.75/10.

Disclaimer: I am a founder member of Anubhooti.

Sangeeta Shankar (Violin)

Attended concert of Sangeeta Shankar (Violin) accompanied by Nandini (Violin), her daughter & Ajit Pathak (Tabla) on 11th Apr 2015 in NCPA, Mumbai with Ravi. This concert was part of 'Saz-e-bahar', a festival specially conceived to provide a window into the range of instruments that adorn the repertoire of Indian classical music.

Organizers informed that violin was brought  to India in 1790 by British. Balusamy Dixitar (brother of Muttusamy Dixitar) introduced violin in Indian classical music.

In first half of the concert Sangeeta presented evening Raag Gorakh Kalyan (गोरख कल्याण). She presented a composition in Tritaal that she dubbed 'beautiful melody'. Solo piece lasted only a couple minutes before Tabla was introduced. She was about supported by her daughter.

In the second half she presented a very traditional Thumri from city of Banaras called 'Bandish ki Thumri (बंदिश की ठुमरी)' in Raag Desh and Taal Keherwa. It was the first time I heard Bandish ki Thumri.

After Thumri she concluded the concert but audience was not satisfied and she was requested to play Bhairavi. So Sangeeta obliged the audience with a composition in Bhairavi (भैरवी) in Taal Dadra.

Sangeetaji is an excellent violinist. She has the finesse. She plays violin with attention to minute detailing. She plays delicately with great detail and plays effortlessly. Unbelievable. Sangeetaji demonstrated why she was nominated for Grammy award.

Young Nandini is also tomorrow's star. She is ready for stage. Her young age, expressive face and skills with violin drew applause and encouragement from audience.

Tabalji was OK. Sangeetaji had to signal him more than once about the requisite speed (लय) and when the Tabla needed tuning. It was just not his day.

This was first time I watched a Hindustani Violin concert. And I would like to hear more. Special mention of audience. Since Sangeetaji was playing delicate and minute notes, audience did not drown the music in clasps but  applauded the artists with wah-wah.

A WOW concert. Entertainment rating 9.25/10.

Rajrupa Chowdhuri (Sarod)

Attended concert of Rajrupa Chowdhuri (Sarod) accompanied by Satyajit Talwalkar (Tabla) on 11th Apr 2015 in NCPA, Mumbai with Ravi. This concert was part of 4th edition of 'Saz-e-bahar', a festival specially conceived to provide a window into the range of instruments that adorn the repertoire of Indian classical music.

Organizers introduced Indian music instruments starting from ancient India to modern day. Interesting information was that C.V.Raman has performed a lot of work on Tanpura and the black patch on Tabla. They informed that Sarod entered India in 18th century.

First half of the concert was Raag Shyam Kalyan (श्याम कल्याण). Rajrupa first played solo and then Satyajit joined her with Tabla. She demonstrated fine Sarod playing and was focused on details.

Rajrupa presented Raag Tilak Kamod (तिलक कमोद) in the second half of the concert. She presented a rachana taught to her guru by Joshiji.

Satyajit played marvelous Tabla. He showed why he is considered amongst top Tabla players of India. He also appreciated and encouraged much younger Rajrupa.

Rajrupa is a fine Sarod player. Rather than forcing the notes out of Sarod, she extracts them. Lady Sarodiya is a rarity. This was my first concert of lady Sarodiya. Rajrupa plays very well and with humility. She is definitely a star in making.

It was a small but cosy auditorium. Sound system was very good. Sarod required frequent tuning adjustments. A number of foreigners attended the concert.

An excellent concert. Entertainment rating 8.75/10.

Suchismita & Debopriya (Flute)

Attended concert of Suchismita Chaterji (Flute) & Debopriya Chaterji (Flute) accompanied by Sawani Talwalkar (Tabla) on 5th Apr 2015 in Chembur, Mumbai. I attended the concert with Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

This was a one raag concert. It was Raag Jog. First they played without Tabla (solo, tandem and synchronized) and later Tabla joined them. This raag lasted one hour.

To conclude the concert they presented a Thumri in Raag Mishra Pilu. They said that this has become rare now a days.

Most of the jugalbandis are of two different instruments. Previously I have also attended  carnatic violin duet concerts. This was first time I attended a flute jugalbandi. It was innovative and piqued my interest.

This was also a ladies special concert. It was interesting and entertaining. I had a premium seat right in front of the artists and about 10 ft away. Parents of the artists attended the concert with general audience. It was also birthday of their mother.

Suchismita & Debopriya displayed fine synchronized and complimentary flute play, though they went slightly out of sync on a couple of occasions. They displayed controlled flute in the first half an hour of concert where they played without Tabla, this was the best part of the concert.

Sawani justified her lineage by playing very good tabla. She refrained from playing fancy and stuck to traditional tabla play. She too missed a beat once.

The duration of concert was about 1 hr 10 minutes. Around 250 people attended.

A different concert. Entertainment rating 7.75/10.

Devaki Pandit (Vocal)

Attended concert of Vidushi Devaki Pandit (Vocal) accompanied by Sudhir Nayak (Samwadini), Girish Nalawade (Tabla) & Manisha Joshi (Tanpura) on 5th Apr 2015 in Chembur, Mumbai. I attended the concert with Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with early morning Raag Yamani Bilawal (यमनी बिलावल). Never heard this raag earlier. She presented composition 'Prem galiyan mein (प्रेम गलियन् में)' in Rupak taal.

Then she presented bandish 'Mangal gao (मंगल गाओ)' composed by Pt. Babanrao Haldankar in Raag Alhaiya Bilawal (अलहैया बिलावल) and in Tritaal.

Then she presented Raag Hindol Pancham (हिंदोळ पंचम) in Jhaptal and later presented a tarana (तराना) also composed by Pt. Bananrao Haldankar in Tritaal.

Upon request of organizers she finally presented a Bhajan 'Kitak din Hari sumiran bin (कितक दिन हरी सुमिरन बिन)' of Pt. Jitendra Abhisheki in Raag Charukeshi.

Devakiji demonstrated mastery over the entire range of swars. She knew exactly which swar she wanted to go to and reached there effortlessly while demonstrating the minute details. She was in complete command of every swar. Amazing!

I would like to attend a more concerts of Devkiji. Previously I had heard her sing light music, this was the first time for classical. She was too good.

Sudhirji was appreciated by Devakiji and the audience regularly. He was too good. Tabla played only a supporting role.

There was noise in the sound system on a few occasions breaking the concentration of artists and audience.

The duration of concert was about 1.5 hr minutes. It was a full house of 400+.

An excellent concert. Entertainment rating 9.25/10.

Satish Krishnamurthy (Carnatic percussion)

Attended concert of Shri. Satish Krishnamurthy (Carnatic percussion) accompanied by Shivkumar (Violin) on 5th Apr 2015 in Chembur, Mumbai. I attended the concert with Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with a shlokam composed by the great Vikku Vinayakram, followed by a poem for Mridangam, followed by very famous 'Maha Ganapati' composed by Muttuswami Dixitar in Aaditalam.

Then they presented a Kriti by Saint Tyagraja in Raagam Kapi (Hindustani equivalent Kafi)

Then he played Shiva panchakshar stuti (शिव पंचाक्षर स्तुती) by Adi Shankaracharya. He played it in 5 jatis (जाती) and then improvised.

Then they played Raaga-Thanam-Pallavi (RTP), the centerpiece of Carnatic music concert,  in Raagam Shanmugapriya. This RTP was composed by the violinist Shivkumar. Pallavi was in Aadi taalam and they also presented Raagmala and Sawal-Jawab.

Concert ended with two solo pieces. First was a Ghatam solo and last was a Mridangam solo. Artists received biggest applause of the festival at the end.

Satish played Mridangam, Ghatam, Kanjira. However he did not play them one after another. He played them together deftly switching from one instrument to another without breaking the rhythm. Though Mridangam was the principal percussion instrument of the concert, he played all of them with equal authority. He is versatile. Shivkumar also plays very good violin. Not only that, he also is a composer.

The duration of concert was about 1.5 hr. Since the concert was scheduled on a Sunday at 8.45 am, the attendance was on lower side of @ 75 in the beginning but increased to full house later on. There was a gaffe by organizers as the concert was advertised as Ghatam concert.

An innovative and excellent concert. Entertainment rating 9/10.

Raja Miya (Vocal)

Attended concert of Ustad Raja Miya aka Gulam Husnain Khan (Vocal) accompanied by Siddhesh Bicholkar (Samwadini), Yati Bhagwat (Tabla), Naved Khan (his son) & Madhuri Sharma (Tanpura) on 4th Apr 2015 in Chembur, Mumbai. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Jayjaywanti (जयजयवंती). In keeping with tradition of Agra gharana he first sung nom-tom (नोम तोम) Aalap then a Vilambit bandish followed by a Drut bandish 'More mandirwa Milo (मोरे मंदिरवा मिलो)'.

Then he presented Raag Nat Bihag (नट बिहाग), a bandish 'Jhan jhan jhan jhan payal (झन् झन् झन् झन् पायल)' in Teen taal.

Upon farmaish (फर्माईश) he presented a Bandish of his Guru 'Sapaneme darasa dikha (सपनेनें दरस दिखा)'.

Finally he presented a Dadra in Bhairavi 'Banao batiya chalo (बनाओ बतिया चलो)' to conclude the concert.

Raja Miya sings very well in Agra gharana's forceful style. I had never heard his name earlier, but liked his singing. I went to the concert without much expectations but was pleasantly surprised. However his voice deteriorated in Bhairavi.

Siddhesh Played very good Harmonium. Ustadji had to tell tabalji multiple times what beat he wants.

The duration of concert was about 1 hr 10 minutes. Attendance was at the start of concert was @ 150 but it dwindled as the concert progressed. I think it was because of timing (it was getting late), not the singer.

A good concert. Entertainment rating 8/10.

Sudheer Nayak (Samwadini)

Attended solo concert of Shri. Sudheer Nayak (Samwadini) accompanied by Dr. Aneesh Pradhan (Tabla), Siddharth Wadia (Swaramandal) & Prasad Prabhu (Tanpura)
on 4th Apr 2015 in Chembur, Mumbai. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Yaman (यमन). First he presented a bandish (बंदिश) in Jhap taal (झप ताल). And followed it with another drut gat (द्रुत गत) composed by Panna babu (Pt. Pannalal Ghosh).

Then he presented raag of  Jaipur-Atrauli (जयपुर अतरौली) gharana (btw Alladiya Khan founded Jaipur-Atrauli gharana) , Raag Tilak Kamod (तिलक कमोद). Then he played a gat composed by his Guru Pt. Tulsidas Borkar who was present in the audience.

Then he played a gat in Raag Tilak Des (तिलक देस), composed by Madhukarji (His guru's guru) and follwed it by a bandish as a gift to Anishji.

Finally he called Mahendra Shedge (Percussionist) to play Tal (टाळ) for final composition, a bhajan; 'Sant bhar Pandharit (संत भार पंढरीत)'

Sudheer Nayak is well known name as Harmonium player. He has nimble fingers and constructs seemingly improbable melody. Adnan Sami has a competitor for fastest fingers. Anishji played excellent tabla that was competitive and complimentary at the same time. He was appreciated by audience and Sudhirji.

Understanding between Sudhirji and Anishji was exemplary. This superb understanding made the performance more enjoyable. Sudhirji described Anishji as friend, philosopher and guide. As a result they were looking at each other most of the time rather than audience.

It was the first time I attended a solo concert of Harmonium. It was good to see an accompanying instrument gaining center stage. I had limited expectations from this concert but I enjoyed it immensely. Very impressed.

The duration of concert was about 1.5 hr. Attendance was @ 300.

A WOW concert. Entertainment rating 9.25/10.

Dr. Monica Shah (Vocal)

Attended concert of Dr. Monica Shah (Vocal) accompanied by Niranjan Lele (Samwadini), Bhushan Parchure (Tabla), Sneha Gosawi & Darshana Purohit (Tanpura) on 4th Apr 2015 in Chembur, Mumbai. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Puriya Dhanashree (पुरीया धनश्री). She sung two compositions. First was 'Dagari laga (डगरी लगा), not sure of lyrics. She built the bandish note by note as if she had all the time in the world, without hurrying. Second composition was 'Panaghatwa jane na paun (पनघटवा जाने ना पाऊँ)' in madhyalay teen taal. Surprisingly audience did not clap at the end of first bandish, but rectified it at the end of second bandish.

Then she presented Raag Kirwani (किरवाणी). She sung a bandish of her guru Pandit Rasiklal Andharia (पं. रसिकलाल अंधारीया), 'Tore bin mohe chain nahi brij ke Nandlala (तोरे बिन मोहे चैन नहीं ब्रिजके नंदलाला).

She ended the concert with a Chaiti (चैती) of her guru Girijadevi 'Chait mas bole re koyaliya (चैत मास बोलेरे कोयलिया)'. I had never heard Chaiti live previously. It was good.

It was the first time I heard name of Dr. Monica Shah. She sung well and was well prepared. To my untrained ears, it appeared that while singing in upper octaves, she sings in falseto.

Accompanying artists were good. I think tabalji missed a beat once. Harmonium was good.

Audience was miser while applauding. Probably they expected more. The duration of concert was about 1 hr 10 minutes. Attendance was @ 125.

An OK concert. Entertainment rating 7/10.

For more concert reports please visit
Mandar's Concert Reports
http://mandarconcertreports.blogspot.com/

Gauri Pathare (Vocal)

Attended concert of Gauri Pathare (Vocal) accompanied by Siddhesh Bicholkar (Samwadini) & Yati Bhagwat (Tabla) on 4th Apr 2015 in Chembur, Mumbai. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Nand (नंद). Raag Nand is speciality of Jaipur Gharana (जयपूर घराना). First she sung khyal and followed it with a drut bandish 'Dhan dhan bhag Nand ko (धन धन भाग नंद को)'. Her students provided the chorus for bandish.

Then she presented Raag Gaud Malhar (गौड मल्हार), a traditional bandish (पारंपारीक बंदिश) 'Kari Kari badara barase (कारी कारी बदरा बरसे).

Finally she presented very famous composition of Pt. Jitendra Abhisheki 'He surano Chandra wha (हे सुरांनो चंद्र व्हा)'. Audience applauded as soon as she started.

Both Siddhesh and Yati are young artists. Siddhesh plays extremely well. He was too good in drawing applause from audience and artists alike. Yati also plays well, but sometimes he was a bit tentative. Two of Gauriji's disciples (Miss Damle & Miss Deshpande) accompanied with Tanpura.

Gauriji sung well. She displayed authority in singing bandishes and was humble. She gave credit of her singing to the Gurus and said that mistakes, if any, were hers.

The duration of concert was about 1 hr 10 minutes. Since the concert was scheduled at 4.30 pm, the attendance was on lower side of @ 125 in the beginning but increased later on.

Sound system was OK and did not trouble the artists. Today there were mosquitos in the auditorium but the number reduced as the audience started clapping.

A good concert. Entertainment rating 8/10.

Pt. Satish Vyas (Santoor)

Attended concert of Pt. Satish Vyas (Santoor) accompanied by Pt. Mukundraj Deo (Tabla) on 3rd Apr 2015 in Chembur, Mumbai. I attended the concert with Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

The duration of concert was about 1 hr 15 minutes. Satishji played two raagas. Concert started with Raag Jhinjhoti (झिंझोटी). Audience was seeped in the bliss of Jhinjhoti.

Then he played Raag  (चारूकेशी) for the followers of Carnatic music. First he played Aalap followed by two Bandishes (बंदिश).

Needless to say Satishji was outstanding. Even those who don't follow classical music, like Santoor. With Satishji playing Santoor even they would have enjoyed. Mukundraj Deo played fine solo dagga pieces. Looks like solo dagga play is an 'in thing'. He played in-beat and off-beat Tabla very well. Audience liked him very much.

Today's sound system was not up to the mark. Santoor requires very sensitive sound system, only then all the details are conveyed to the audience. Today minute, delicate and fast paced notes were lost.

Around 300+ people attended the concert. It was good to see a number of college going youngsters attend the concert along with the elders. All announcements, including one by Satishji, were in Marathi.

This was my second concert of Pt. Satish Vyas in four months. I had a feeling of deja vu because he played same raagas in Abu Dhabi concert as well. On the lighter side, when I met him after concert he said 'I would have played something different, if I had known you were in the audience.'

A  satisfactory evening. Entertainment rating 9/10.

Pt. Shubhendra Rao (Sitar)

Attended concert of Pt. Shubhendra Rao (Sitar), a disciple of Pt. Ravishankar accompanied by Pandita Anuradha Pal (Tabla) on 2nd April 2015 in Chembur, Mumbai. I attended with Madhav & Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Maru Bihag (मरू बिहाग). Shubhendraji played solo Aalap-Jod-Jhala as per the tradition of 'Maihar gharana'. He played extremely well. Audience was spell bound, especially in Jhala. Even Anuradhaji could not help applauding.

Then he played Raag Mishra Khamaj (मिश्र खमाज), with Anuradhaji, first in Vilambit Teen taal and then in Drut Teen taal. Wow!

The concert lasted one hour and ten minutes. It was not a Sitar concert accompanied by Tabla but a Sitar-Tabla jugalbandi. Audience and organizers did not want the concert to end so soon, so the artists were urged to play more. They played Dhun (धुन) influenced by Bhatiyali dhun for another 8 minutes.

Shubhendraji is a perfectionist, he fussed over the microphone until he was satisfied. He played with complete concentration and was unaware of his surroundings. Anuradhaji demonstrated why she is called 'Lady Zakir'. She played competitive Tabla in her 45 minutes. The section she played only with dagga (डग्गा) was simply amazing. I had the best seat in the auditorium, only 10ft from the artists.

It was a knowledgeable and appreciative (दर्दी) audience. They did not miss any deserving opportunity to applaud.

It was a functional auditorium with bare minimum facilities. The auditorium had fans but despite the charged music it was not hot. Sound system needs improvement. Program started half an hour late. Organizers kept giving glasses of water to Anuradhaji and she was visibly perplexed because she never asked for them.

We left the auditorium with a feeling of 'Ye  dil mange more (ये दिल माँगे मोर).

A very good evening. Entertainment rating 9/10.