Upaj (उपज)' - Zakir Hussain, Taufiq Qureshi and Niladri Kumar

Attended a concert titled 'Upaj (उपज)'. A concert featuring Zakir Hussain, Taufiq Qureshi and Niladri Kumar at Shanmukhanand hall, Mumbai, on 14th Dec 2016. 

Upaj literally means 'harvest' while in Indian Classical music it is a term used for enthralling 'improvisations'. 

Concert started with Raag Shree and with Zakirji and Niladriji on stage. Aalap and jod followed by jhala, Zhakirji joining in. Audience clapped on his first strike on Tabla. The Raag was played for about 50 minutes. 

During aalap and jod, when Niladri was playing very fine, delicate and faint notes, Zakirji had to contain the audience from clapping and urge them to listen. They complimented each other and also played Sawal Jawab. Their playing was very good and so were there excellent pauses. 

Second Raga, rather Ragini, was Bageshwari. Zakirji made a pun about Rageshree and Rageshrimati. Taufiqji joined in for this segment. The two purcussionists joined almost immediately after Niladri started it. 

Taufiqji then played a solo piece for 20 minutes and showed how many variations can be played on a single drum. 

Taufiq and Zhakir then played a composition of guru of their guru (dada guru) for few minutes together. This was a Punjab gharana composition. They also played Jugalbandi. Sitar then joined for grand trio that included solo, simultaneous and Sawal Jawab. 

Concert ended with Niladri playing Zitar, Taufiq playing drum sets and Zhakir on tabla for the grand finale. It was a medley that even included Bhajan 'Raghupati Raghav' with drums. They jammed. This section, though good, appeared out of sync with the concept of concert and seemed like an appendage. It was the first time I attended a proper classical music concert with drums. 

Zakir Hussain is the best known Tabla player in the world. He belongs to Punjab gharana and is a disciple of Ustad Allarakha. He is a contemporary legend. His effortless Tabla play won the audience. He also anchored the program with his light hearted commentary. 

Niladri Kumar is the prodigal Sitar player from Maihar gharana. He is disciple of Katick Kumar and Pandit Ravi Shankar. He has created an instrument called Zitar. His hands are a blurr on Sitar and he can play anything and everything. 

Zhakirji and Niladriji together and all three have superb understanding between them. They enjoyed and consequently so did the audience. They matched each other stroke by stroke. This was my third concert of the pair and second of the trio. 

Taufiq Qureshi, who also belongs to Punjab gharana, is well known and innovative purcussionist. He has also composed background scores for numerous films. He is disciple of Ustad Allarakha and Vikku Vinayakram.

Concert started about half an hour late. But still there were many latecomers disturbing the aalap. Auditorium was clean, chill and had good acoustics. 

Entertainment rating 9/10.

 

Olya sanjweli (ओल्या सांजवेळी)

Attended a concert titled 'Olya sanjweli (ओल्या सांजवेळी)'. A program of Marathi songs of Ashwini Shende, conceptualized and directed by Jaydeep Bagwadkar. Singers were Jaydeep Bagwadkar, Dhanashree Deshpande & Madhuri Karmarkar. Program was conducted by Abhijit Khandkekar. The music for the program was pre-recorded. The singers sang live. Thus there were no musicians on stage. Program was organized by Maharashtra Mandal Abu Dhabi at Indian Embassy Auditorium, Abu Dhabi on 28th Oct 2016.

Program started with famous title song of a serial 'Sare kalat na kalatach ghadte (सारे कळत नकळतच घडते)'. This was first title song of Ashwini's career. It was followed by 'Aabhas ha (आभास हा)' from film 'Yanda kartawya ahe (यंदा कर्तव्य आहे)' and 'Ek nadi sarkhi wahte mi janu (एक नदीसारखी वाहते मी जणू)' title song of TV serial 'Kulwadhu (कुलवधु)'. 

'Bhijun gela wara (भिजुन गेला वारा)', a melodious but unknown rain song was followed by 'Maziya priyala preet kanena (माझीया प्रियाला प्रीत कळेना)', title song of TV serial of same name, composed by Ashok Patki. This song has a distinction of being first title track of a Marathi serial to be launched as a mobile caller tune. 'Ghan aj barse anawar ho (घन आज बरसे अनावर हो)' a little known rain song was then presented. 

Julun yeti reshim gathi (जुळून येती रेशीम गाठी)' title song of TV serial of same name received a big applause. Audience demanded and got once more for this song. Then Madhuri presented a song from her own album 'Ghardar raho mage nako nako to pasara (घरदार राहो मागे नको नको तो पसारा). I heard it for the first time today and liked it. Feelings of a girl who wants to be free of everything. 

'Jashi asate ga aai (जशी असते गं आई)' title track of TV serial 'Mala sasu hawi (मला सासू हवी)' where a daughter in law tells us what she expects from her mother in law was followed by 'Makhmali he prashna thode (मखमली हे प्रश्न थोडे)' song from film 'Mitwa (मितवा)'. 

Next came 'Saath de tu mala (साथ दे तू मला)' from film 'Mumbai Pune Mumbai 2 (मुंबई पुणे मुंबई २)'. Ashwini has written the script of this film as well. After this 'Tuja vina sakhya re (तुज विण सख्या रे)' title song of TV serial of same name & 'Ekach hya janmi janu (एकाच ह्या जन्मी जणू)' title song of TV serial of same name were presented. 

Then they presented 'Chand matla (चांद मातला)' from film 'Lal ishq (लाल इश्क)'. This is a new song and should not be confused with old song Chand matla matla tyala kashi aawaru. Lyricist has coined a new Marathi word 'funkarware (फुंकरवारे)' for this song.

Towards the end title song of a show 'Mahima Mahalakshmi Balajicha (महिमा महालक्ष्मी बालाजीचा) was presented. I am almost certain that the singer only lip sung the recorded portion of this song that was in a southern (Carnatic) style and live sung rest. It was followed by 'Gondhala ye (गोंधळाला ये)'. This one was not well rehearsed and some words were missed by two singers.

Program concluded with the song on which this program was titled. 'Olya sanjweli (ओल्या सांजवेळी)' from movie 'Premachi goshta (प्रेमाची गोष्ट)'. 

It was a program of songs written by Ashwini Shende. Program of songs of a  lyricist is a unique concept and a good one. Moreover Ashwini is not only a lyricist but also a script and dialogue writer. It also included chat with Ashwini. One should appreciate her not only for her good songs but also for the fact that while talking on the stage she kept the use of English to minimum. Not an easy feat to achieve in today's time. 

Abhijit Khandkekar is a former RJ and well known film and TV personality. His anchoring was fluid and informal. As a result the atmosphere, artists and audience were comfortable. He too did not use too many English words. 

Ashwini and Abhijit were seated on the stage full time and were talking with each other while the songs were going on. That was distracting. Someone should tell them. 

Jaydeep has a good voice. Madhuri was good except the lip singing part. Dhanashree appeared to be straining her vocal chords while singing high notes. 

Lyrics of the song were displayed on the projector on the background. This is a novelty in Marathi programs. It helps in two ways. One audience attention is drawn towards lyrics. Two audience does not sing the wrong lyrics. 

Stage illumination was inadequate. Singers were in partial darkness. Sound system gave trouble occasionally (Mic noise, mic malfunction etc. )

Ironically, the program was titled Olya Sanjweli (which means, On a wet evening), but the program was in the morning. Sub title of the program was 'Shabdancha cafe', why give such a hybrid subtitle?

Although the program was of a lyricist, most of her popular lyrics are title track of the TV serials. Those who expected to listen popular and traditional songs would have been disappointed. Those who do not mind watching something new and different would have liked the program. I felt that it would have become more effective if they had shortened the duration little bit. 

Credit should be given to MMAD for daring to bring a program off the beaten track. Something different. Worth encouraging the artists. 

Entertainment rating 7/10.

  

Swar Ninad

Mandar's concert report

Attended a concert titled 'Swar Ninad'. A program of Marathi songs. Singers Prathamesh Laghate and Mugdha Vaishampaian. Accompanied by Prashant Lalit (Keyboard), Parag Dhadphale (Tabla), Abhay Samant (Pakhwaj), Mahadev Phadte (Side rhythm and Tal). Program was conducted by Vighnesh Joshi who also played Harmonium. It was organized by Maharashtra Mandal Abu Dhabi at Indian Embassy Auditorium, Abu Dhabi, on 27th May 2016.

Prathamesh and Mugdha shot to fame a few years ago when they were the part of fantastic five of TV reality show 'Little Champs'. Prashant is a composer and keyboard player. Vighnesh is a TV actor. Parag, Abhay and Mahadev are UAE's local talent.

Concert started with two naandis (नांदी). First was famous naandis of Balgandharva 'Pancha tunda narrundamaldhar (पंच तुंड नररुंडमालधर)' by both singers and second was 'Jay Shankara (जय शंकरा)' of Pt. Ram Marathe by Prathamesh. Mugdha presented Natyageet 'Khara to prema (खरा तो प्रेमा)'. Prathamesh was then given a choice of presenting any song or songs from famous Sangeet Natak 'Katyar Kaljat Ghusli (कट्यार काळजात घुसली)'.  He presented most famous 'Ghei chand makarand (घेई छंद मकरंद)'. He chose both versions. First slower and then faster rendition. Vighnesh invited farmaish but when one was made for 'Surat piya ki' it was not taken but he promised to present it later. Mugdha presented Sudhir Phadke's 'Jiwlaga kadhi re (जीवलगा कधी रे)'. This song has five Raags in it. It's called Patmanjiri (पटमंजिरी).

Then they presented a medley of songs from immortal 'Geet Ramayan (गीत रामायण)'. It includes 'Kush Luv Ramayan gaati (कुश लव रामायण गाती)',  'Setu Bandha re (सेतु बांधा रे)' & 'Ram jnmala ga sakhe (राम जन्मला ग सखे)'. I would have liked a couple more.

They then moved to Bhakti Ras (भक्ती रस) with Bhimsen Joshi's 'Maze Maher Pandhari (माझे माहेर पंढरी)' followed by 'Padmanabha Narayana (पद्मनाभा नारायणा)'.

The mood then changed to light and rhythmic songs. It started with 'Ali thumkat nar (आली ठुमकत नार)' followed by Lawni (लावणी), 'Ugawli shukrachi chandni (उगवली शुक्राची चांदणी)', 'Anand potat mazya maina (आनंद पोटात माझ्या माईना)' and on demand 'Radha dhar Madhu Milind (राधा धर मधु मिलिंद)'.

Coming true on their promise Prathamesh presented Vasantrao Deshpande's 'Surat piya ki (सुरत पिया की)' and appended it with a power packed Tarana. His tans and Aakar were delightful. This was easily the best song of the program and deservedly received standing ovation.

Concert ended with Bhimsen Joshi's Bhairavi (भैरवी)  'Aga Vaikunthichya raya (आगा वैकुंठीच्या राया)'.

Artists should be applauded for resisting the temptation of presenting relatively recent popular songs, despite having young singers.

Mugdha obviously had throat infection that impacted her voice. Despite it she sung well.

Prathamesh has a very good range and sings very well. He has no difficulty in achieving any note. He amazed the audience with his singing. However it appeared that he prefers forceful singing to delicate singing. Both of them are start in making.

Vighnesh was a surprise package. He entertained the audience with his witty and crisp commentary, that sometimes bordered impertinence, and his Harmonium. He proved his worth as regular Harmonium player. Conducting the program was a delicious topping. He not only played these two roles but also played mentor to the young singers.

Parag, Abhay and Mahadev were good and played their role to perfection. Prathamesh asked audience for a special applause for Parag. There was no separate mic provided for Pakhawaj so sound of Pakhawaj was subdued.

Other than a couple of minor irritations, sound system was good. Temperature in the auditorium was low making it slightly uncomfortable. It was a houseful concert. Some were even standing.

Entertainment rating 8/10.

Milind Raikar (Violin)

Attended a concert of Milind Raikar (Violin) accompanied by Bhushan Rao (Tabla) & Yadnesh Raikar (Violin) organized by Anubhooti at ISC, Abu Dhabi, on 23rd Apr 2016. Attendance to the concert was @65.

Milind Raikar is disciple of Pt. D. K. Datar and Gaansaraswati Kishori Amonkar. Yadnesh is his 15 year old son and disciple.

Raag of the concert was Raag Puriya Dhanashri (पूरिया धनश्री). First he played aalap followed by madhyalay and drut compositions.

Then he presented bandish 'Payaliya zankar (पायलिया झंकार) in same Raag. At times when he wanted to play delicate notes he asked Bhushan to play soft tabla. He and Yadnesh played extremely well. Audience gave them a very long and big applause.

Then he presented a Bandish of his Guru, Kishori Amonkar, 'Sahela re (सहेला रे)' in Raag Bhoop (भूप). It was a treat. Both the violinists were applauded multiple times.

Then Milindji gave audience a choice of either Thumri or Natyageet. Greedy audience (that included me too) demanded both. Milind ji complied.

He presented the immortal Thumri of Bade Gulam Ali Khan 'Yaad piya ki aye (याद पियाकी आए)' in Raag Bhinna Shadja (भिन्न षड्ज). Milindji commented that the bandish he played was the original one without deviation as told by his Guru however what Yadnesh played was the version influenced by Kaushiki Chakraborty, which deviated from the original. Generation gap!

Then Milindji presented Marathi Natyageet 'Yuvati mana zale (युवती मना झाले)'. Audience who knew the song loved it and who did not know liked it nevertheless.

He then presented famous bhajan of Kishori Amonkar 'Mharo pranam (म्हारो प्रणाम)' in Raag Yaman Kalyan (यमन कल्याण). This too was liked by audience.

Concert concluded with 'Bhairavi (भैरवी)'. He played Bhairavi without Tabla. Without Tabla it was much more effective. It created a completely different kind of effect. It gave goose bumps to the audience. Mesmerizing!

Milindji's Violin literally sang. He played slow, delicate, fast. Everything was perfect. He extracted numerous applauses. His rendition touched the heart.

Yadnesh is a very good violinist. His understanding of music is beyond his age. Doubtless, he has a bright future.

The father son duo was a classic example. Father is a perfectionist and traditionalist whereas son is a talented rebel with great respect for father. However both share a great rapport. To top it up humility is in their nature.

Bhushan played Tabla as a pure accompanist. He was very true to lay (लय) and concentrated on basics rather than trying to be flashy. Very good.

There was some trouble with sound system and microphone adjustment, but it was sorted out.

Milindji especially mentioned that he liked idea of children presenting flowers to the performers and introducing artists. He encouraged the anchor, Mihika, by inviting her back on stage and presenting her a flower. He again appreciated Anubhooti for giving opportunity to children after concert.

All in all it was a fabulous concert. The audience was spellbound.

Entertainment rating 9.5/10.

Disclosure: I am a founder member of Anubhooti.

Vidushi Shubha Mudgal (Vocal)

Attended a concert of Vidushi Shubha Mudgal (Vocal) accompanied by Dr. Aneesh Pradhan (Tabla, disciple of Pt. Nikhil Ghosh) and Sudhir Nayak (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Shubha Mudgal (Gwalior, Agra and Jaipur Gharana) hails from Delhi. She is disciple of Pt. Ramashreya Jha, Pt. Vinay Chandra Maudgalya, Pt. Vasant Thakar, Pt. Jitendra Abhisheki & Pt. Kumar Gandharva.

Bada Khyal of the concert was night Raag Abhogi Kanada (अभोगी कानडा) of Kafi That (काफी थाट).

First bandish was 'Kahe gumaan kare gori (काहे गुमान करे गोरी)' in Vilambit Ek Taal (एक ताल). She used Aakar (आकार) for badhat (बढत). Her slow, detailed and clear rendition was appreciated by everyone.

Second bandish was 'Sulzat nahi man (सुलझत नाही मन)' in Teen Taal (तीन ताल). She received a long applause at the end.

She then presented a composition of her Guru Pt. Ramashreya Jha 'Nabha nirakh aj (नभ निरख आज)' followed by 'Ratiya nind na aye (रतिया निंद ना आए)'. Both of these were beautiful and appreciated by audience as well as accompanists.

Last presentation was Chaiti (चैती) 'Ramji ke ban ma pathole (रामजी के बनमा पठौले)'. This song narrates the incidence of Kaikeyi sending Ram to vanvas. Concert was supposed to conclude here but audience did not leave. Since this was the last concert of the festival, they insisted on conclusion with Bhairavi.

So concert concluded with a Bhairavi 'Ajar jharey ras gagan gufa mein (अजर झरे रस गगन गुफाँं में)', a Kabir composition from her album. She sung this song with a lot of emotions and made the audience tender, a combined effect of her soulful singing and conclusion of festival.

It is well known how good a singer Shubha ji is and she sung to her reputation. She impressed one and all. She has unbelievable range. Audience was ecstatic. Even her vocal accompanist and disciple (I missed her name) was very good and was applauded by the audience.

The pair of Anish ji and Sudhir ji always brings liveliness to the concert. They enjoy playing together and the enjoyment spills over to the audience. With Subha ji, they outdid themselves.

It was a full house. Fantastic. Memorable. Fitting conclusion of the festival.

Trivia: Spontaneous poetry (शीघ्र काव्य), on the artists and Raag they performed, by anchor Amey Bal was highlight of this festival. His poetry, at the end of each concert, was frequently appreciated and applauded.

Entertainment rating 9.5/10.

Pt. Harish Tiwari (Vocal)

Attended a concert of Pt. Harish Tiwari (Vocal) accompanied by Abhay Datar (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Harish Tiwari (Gwalior, Shyamchaurasi Gharana of Punjab and Kirana Gharana) hails from Delhi. He is disciple of Thakur Choubey, Ajeet Bhattacharya, Acharya Nandanji and Pt. Bhimsen Joshi.

Raag of the concert was evening Raag Puriya Dhanashree (पूरिया धनश्री) in Purvi That (पूर्वी थाट). He presented bandish 'Sumiro tero naam (सुमिरो तेरो नाम)' in Vilambit Ektaal. It took me long time to decipher the words, but finally I did. When he sung Aakar in higher octaves his voice became very delicate.

Second bandish was the famous drut bandish 'Payaliya jhankar (पायलिया झंकार)'. Everyone enjoyed.

He then asked the audience if they want Thumri or Bhajan. Not happy to choose one audience demanded both. So he complied.

First he sang Thumri 'Piya to manat nahi (पिया तो मानत नाही)' in Raag Mishra Kafi (मिश्र काफी).

Finally he sang bhajan (भजन) 'Roop pahta lochani (रूप पाहता लोचनी)' from Abhangwani. Audience heartily applauded him for singing a Marathi bhajan. Concert was supposed to end here, but public demanded one more and thus he concluded the concert with Bhimsenji's famous 'Tirtha Vitthal (तिर्थ विठ्ठल)'.

Organizers specifically appreciated him for singing Marathi bhajan and he politely replied that an artist belongs to everywhere.

Harishji is an accomplished singer. I particularly liked his Akars (आकार). Influence of Pt. Bhimsen Joshi on his singing was evident even to a non-expert like me. There was no need to tell that he is his disciple.

Tabla and Harmonium matched the singing stroke to stroke and note to note. Niranjan was applauded by audience.

Entertainment rating 9/10.

Vidushi Kalapini Komkali (Vocal)

Attended a concert of Vidushi Kalapini Komkali (Vocal) accompanied by Yati Bhagwat (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Kalapini Komkali (Gwalior Gharana) is daughter of Pt. Kumar Gandharva. She hails from Dewas. She is disciple of Pt. Kumar Gandharva and Vidushi Vasundhara Komkali.

Kalapniji's chosen Raag for the concert was late afternoon Raag Multani (मुलतानी) of Todi That (तोडी थाट).

1st bandish, Bada Khyal, was 'Begi ya (बेगी या)' in Vilambit Tritaal (त्रिताल). Audience listened to her forceful rendition with rapt attention.

2nd bandish was 'Lagi lagi re sawariyan (लागी लागी रे सावरियाँं)' in Madhyalay Tritaal (त्रिताल).

3rd bandish was a fast composition 'Dil bekarar (दिल बेकरार)' composed by Pt. Kumar Gandharva in drut Tritaal (त्रिताल).

Kalapini ji presented three Bandishes non stop. Audience wanted to applaud, but she did not give them a chance until the end of third. Then she accepted a big applause.

Second Raag of concert was Raag Bhup (भूप) She presented a Madhyalay Rachana 'Abeer gulal (अबिर गुलाल)' composed by Pt. Kumar Gandharva.

Concert concluded with a very old traditional Madhyalay tarana, a rarity, as most Tarana are drut lay. Interesting! First time for me.

Concert was to end here but audience wanted another composition of few more minutes. She acceded and presented a Chaiti (चैती) 'Pattiyan (पत्तियाँं)'.

Yati and Niranjan accompanied well and were appreciated by Kalapini ji. Their jugalbandi drew audience applause.

When Kalapiniji was about to start the concert, someone pointed out that the announcement is still balance. She gracefully waited till it was over won the audience by her crisp commentary.

Needless to say that she sung well and powerful singing was appreciated. After the end of concert an old lady approached her and told her that she reminded her of Kumarji. What other compliment does one required. Yours truly happened to witness this exchange.

It was a house full concert.

Entertainment rating 8.75/10.

Aashna Jain (Vocal)

Attended a concert of Aashna Jain (Vocal) accompanied by Mandar Puranik (Tabla) and Siddhesh Bicholkar (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Aashna Jain (Kirana Gharana) is only 12 years old and considered a child prodigy. She hails from Mumbai. She is disciple of Pt. Achyutrao Abhyankar and Pt. Tulsidas Borkar.

Bada Khyal of the concert was evening Raag Puriya Kalyan (पूरीया कल्याण) of Marwa That (मारवा थाट). She presented bandish 'Sadarang (सदारंग)'. She displayed that she can sing in lower as well as higher octaves. She used Aakar (आकार) as well as Sargam (सरगम) for badhat (बढत).

She then presented a drut bandish 'Bahut din beete (बहु त दिन बीते)'. The ease with which she sung was amazing.

Chota Khyal of the concert was evening Raag Patdeep (पटदीप) of Kafi That (काफी थाट). Tabalji started on wrong beat. She stopped, corrected him and then continued with her singing. Audience was amazed by her understanding. She presented bandish 'Naina na mane (नैना ना मानें)'.

She then presented another Bandish 'Ajahu na aye Shyam (अजहू न आए श्याम)' composed by Agrawale Vilayat Hussain Khan 'Pranpiya'.

Ashna sang confidently and was at home on the stage. Her music sense and maturity is much more than her age. She knew what she wanted to sing, how she will sing it and executed it perfectly. Considering that she is only 12 years old Ashna is already a rising star. Audience was awestruck.

Tabla & Harmonium were good accompaniment. She proved a good match to them.

Trivia: Siddhesh, apart from being an excellent harmonium player, is also an accomplished Jaltarang player.

Entertainment rating deliberately not allocated. Ye dil mange more.

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

Pt. Satyasheel Deshpande (Vocal)

Attended a concert of Pt. Satyasheel Deshpande (Vocal) accompanied by Mandar Puranik (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Satyasheel Deshpande (Gwalior & Kirana Gharana) hails from Pune. He is foremost disciple of Pt. Kumar Gandharva.

Concert started just after 12 pm. Bada Khyal of the concert was early afternoon Raag Shuddha Sarang (शुद्ध सारंग). He presented bandish 'E tapan lagi (ए तपन लागी)'. It took some time and research to decipher the words. He used Bol Taans (बोल तान) for badhat (बढत).

After this he persevered a series of short Bandishes. I could only understand one word of second bandish 'Surjanwa (सूरजनवा)'. Third bandish was 'Ab mori baat maan le (अब मोरी बात मान ले)' in drut Teen Taal (तीन ताल).

Fourth bandish was 'Kite din piya dekhe bin beete (किते दिन पिया देखे बिन बिते)' in Teen Taal (तीन ताल). Fifth bandish was Kumarji's 'Piya basera ghar aali (पिया बसेरा घर आली)'

Sixth bandish sounded like 'Ye mandi gagari (ये मांडी गगरी)', not sure if the words are correct.

Chota Khyal of the concert was Raag Dhani. He presented bandish 'Mori kar pakarat (मोरी कर पकरत)'.

Concluding bandish was  'Kan kan sur taal (कण कण सूर ताल)'. He explained the shlesh (श्लेष) on word 'Jan gayi' in this bandish (Jan gayi as in life ebbed as well as understood).

Satyasheel ji presented 8 Bandishes in one hour and half. It was a treat for music experts but for someone like me, by the time I deciphered the words and appreciated first bandish, next one was half way through. It was a learning experience for the students. Everyone in the audience liked it. One of the ladies in the audience said that the sur penetrate the heart.

Tabalji played well. Satyasheel ji had to tell him the requisite lay, a couple of times. Niranjan on Harmonium was good as usual. 

Trivia: Satyasheel is son of Pt. Vamanrao Deshpande.

Famous Marathi poet Ashok Naigaokar was present in the audience.

Entertainment rating 9/10.

Pt. Brij Narayan (Sarod)

Attended a concert of Pt. Brij Narayan (Sarod) accompanied by Dr. Aneesh Pradhan (Tabla, disciple of Pt. Nikhil Ghosh) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Brij Narayan (His own style) hails from Mumbai and is disciple of Pt. Ram Narayan, Pt. Chaturthi Lal & Ust. Ali Akbar Khan.

Main Raag of the concert was morning Raag Komal Rishabh Asavari (आसावरी). He started with Aalap (आलाप) followed by Jod (जोड) and then Jhala (झाला). Brij Narayan ji made eye contact with the audience during recital. Then he presented a Gat (गत) when Tabla joined in. Audience applauded his Chakradhar (चक्रधर) & Tihai's (तिहाई). Sawal - Jawab (सवाल जवाब) of Sarod and Tabla were entertaining. It was Teen Taal (तीन ताल). First in madhyalay (मध्यलय), then drut (दृत) & then ati drut (अति दृत). Audience gave a long sustained applause.

Second Raag of the concert was Raag Mishra Pilu (मिश्र पिलू). It was a beautiful rendition.

Concert concluded with a Bandish (बंदिश) of Ust. Allauddin Khan in Raag Pilu (पिलू) in drut Teen Taal.

Brij Narayan ji has an expressive face. His expressions and eye contact with audience engage them in the concert and augments enjoyment.

Anishji played a different kind of Tabla. He was more forceful than usual. It might be an adjustment for sound of Sarod. His understanding and anticipation of what artist is going to play is amazing.

Surprisingly organizers did not use pick up microphone for this concert as well as for previous Sitar concert.

Around 125 people attended the concert and it lasted for about 1 hr 20 min.

Trivia: Brij Narayan is the son of Sarangi player Pt. Ram Narayan.
He was accompanied by his son Harsh Narayana (who is a Sarangi player) on Tanpura.

Entertainment rating 8.75/10.

Vidushi Padma Deshpande (Vocal)

Attended a concert of Vidushi Padma Deshpande (Vocal) accompanied by Mangesh Mulye (Tabla, disciple of Utd. Mohammad Ahmed Khansaheb) and Ajay Joglekar (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 9th April 2016 with Ravi.

Padma Deshpande (Kirana Gharana) hails from Pune and is disciple of Sudha Ranade, Hirabai Badodekar, Saraswatibai Rane & Vijay Karandikar.

Bada Khyal of the concert was Raag Shyam Kalyan (श्याम कल्याण). She presented bandish 'Jiyo mero laal (जियो मेरो लाल)' in Vilambit Ek taal (एक ताल). She used Aalap (आलाप) and Sargam (सरगम) for badhat (बढत) of Raag.

She then presented a Bandish 'Saiyan Tum bin (सैयाँं तुम बिन)' in drut Teen Taal. She received a big long applause.

Chota Khyal of the concert was Raag Sudha Kedar (सुधा केदार). This Raag is her own creation, dedicated to her mother Sudha Ranade. It's a mixture of Kedar (केदार) and Kalyan (कल्याण). She presented a short composition 'Nis din barso Sudha (निस दिन बरसो सुधा)' in drut Ek Taal (एक ताल).

Concert concluded with a Natya geet (नाट्य गीत) 'Karin Yadu Mani sadana (करिन यदु मनी सदना).

Needless to say Padmaji sung very well. Her singing was melodic and she had clear pronunciation. She sung like a don and conquered. She had a terrific sense of microphone.

Mangesh and Ajay both provided excellent accompaniment to such a senior artist. She appreciated both.

Entertainment rating 9.25/10.

Trivia: Padmaji is grand daughter in law of Sawai Gandharva.

Pt. Tulsidas Borkar (Samwadini)

Attended a concert of Padmashree Pt. Tulsidas Borkar (Samwadini) accompanied by Mandar Puranik (Tabla) and Siddhesh Bicholkar (Swar mandal) at 39th Sangeet Samrat Alladiyakhan music festival on 9th April 2016 with Ravi.

Tulsidas Borkar (P.Madhukar Gharana) hails from Mumbai and is disciple of Pt. Vishnupant Vashta, Swararaj Chota Gandharva & Pt. Madhukar Pednekar.

Chosen Raag for the concert was Raag Hamsadhwani (हंस ध्वनी), which is a Melkarta Raag. He presented two Bandishes composed by his Guru, P.Madhukar.  First in Jhap Taal (झप ताल) and second in Teen Taal (तीन ताल).

He then presented Sargam geet (सरगम गीत) composed by Murli Manohar Shukla in drut Teen Taal (तीन ताल). Then he presented a beautiful Thumri, however he did not tell the Raag. It was probably Pilu (पिलू).

He then presented a famous Abhang 'Tirtha Vittal kshetra Vitthal (तीर्थ विठ्ठल क्षेत्र विठ्ठल)'.

Then he switched to Natya Sangeet. He played 'Chand maza ha hasra (चांद माझा हासरा)' of his Guru Chota Gandharva, followed it up with another one of Dinanath Mangeshkar and concluded with a composition of Bal Gandharva.

Last item of concert was Mishra Dhun (मिश्र धुन). He emphasized on presence of Bhav (feelings) in Mishra Dhun.

On special request of organizers he acceded to play D.V.Paluskar's 'Thumak chalat Ramachandra (ठुमक चलत रामचंद्र)' and how well he played!

Tulsidas ji's arrival was welcomed with a big applause. This Bhishmacharya of harmonium has agile fingers at the age of 81. He demonstrated how to optimize pushing bellow (भाता).

Tabalji and swar mandal played a perfect accompaniment.

Harmonium solo concerts are very rare. To get to attend one of Tulsidas ji is rarer. It is said that, to watch him play is a treat and learning experience for students. Obviously it was a house full concert. All the artists who performed before him on the day were present in audience.

Trivia: Most of the harmonium players in this samaroh were disciples of Pt. Tulsidas Borkar. This was his first concert after getting Padmashree.

Entertainment rating 9.25/10.

Pallavi Pote (Vocal)

Attended a concert of Pallavi Pote (Vocal) accompanied by Milind Pote (Tabla, disciple of Pt. Suresh Talwalkar) and Siddhesh Bicholkar (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 9th April 2016 with Ravi.

Pallavi Pote (Gwalior, Kirana & Jaipur Gharana) hails from Pune and is disciple of Pt. Madhusudan Bhave, Madhuri Oak, Vidushi Alka Deo-Marulkar, Pt. Suhas Datar & Vidushi Jayashree Patnekar.

Bada Khyal of the concert was Raag Multani (मुलतानी) of Todi That (तोडी थाट). She presented Bandish 'He Gokul ka chora (हे गोकुल का छोरा)' in Vilambit Teen taal (तीन ताल). Most part was in the higher octaves.

She then presented a short bandish in drut Teen Taal (तीन ताल) that sounded like 'More mani (मोरे मनी)'. The words were not decipherable. It was a fast composition liked by audience.

Chota Khyal of the concert was dwitiya prahar (द्वितीय प्रहर) Jod Raag Tilak Kamod (तिलक कामोद) of Khamaj That (खमाज थाट). She presented 'Sur sangat (सूर संगत)' in madhya lay Roopak (रूपक) Taal.

Concert concluded with a Krishna bhajan (कृष्ण भजन) 'Gao sab mil mangal (गाओ सब मिल मंगल)'.

Pallavi ji's voice was shaky at the beginning and audience became nervous but she recovered quickly and got back in tune. She used Aakar (आकार) for the badhat of the Raag's.

Understanding between Pallavi and Milind was outstanding. It helps being spouses. Siddhesh was applauded by artists as well as public for his Harmonium.

Duration of concert was 1 hr and attendance was @ 120.

Trivia: Pallavi is grand daughter of Pt. Ram Marathe.

Entertainment rating 8/10.

Sapan Anjaria (Tabla)

Attended a concert of Sapan Anjaria (Tabla) accompanied by Siddhesh Bicholkar (Lehra-Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 9th April 2016 with Ravi.

Sapan Anjaria (Benaras Gharana) hails from Ahmadabad and is disciple of Pt. Nandan Mehta, Pt. Puran Maharaj, Rajal Shah & Hetal Mehta Joshi.

Chosen Taal of the concert was Teen taal (तीन ताल). Concert started with a beautiful piece of harmonium by Siddhesh.

Sapan presented tihai's (तिहाई), Anaghat (अनाघात) and Atit (अतित). Next was a peshkar (पेशकार) starting from a different bol on Tabla (तबला / दायाँं) while keeping same weight (वजन) of dagga (डग्गा / बायाँं). It sounded good.

He then presented an interesting Gat (गत) and followed it up with a Farmaishi Chakradhar (फर्माईशी चक्रधर) where same gat was converted into Farmaishi Chakradhar by his Guru Pt. Nandan Mehta.

Then he presented a Tipalli (तिपल्ली) followed by a Tukda (तुकडा). It was followed by rachana of Pt. Kishan Maharaj, a Farmaishi Chakradhar Tukda (फर्माईशी चक्रधर तुकडा).

Concert ended with two more Rachana one of which was Chakradhar (चक्रधर).

Sapan has a forceful Tabla playing style. He is confident and knows what he is going to play and achieve. His presentation of Kayda (कायदा), tukda (तुकडा) and rela (रेला) was good. He is young (may be in his mid twenties) and promising.

Siddhesh is master of harmonium. His lehra was impeccable. I think he played lehra in Raag Todi.

Attendance was @ 70 and concert lasted for little less than one hour.

Trivia: Banaras Gharana Tablaji's play Tabla in Veerasan (वीरासन) and so did Sapan, who is a mechanical engineer.

Entertainment rating 8.25/10.

Shashwati Mandal (Vocal)

Attended a concert of Shashwati Mandal (Vocal) accompanied by Abhay Datar (Tabla - disciple of Bhai Gaytonde) and Niranjan Lele (Harmonium- disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 8th April 2016.

Shashwati Mandal (Gwalior Gharana) hails from Mumbai. She is disciple of Pt. Balasaheb Poonchwale, Pt. Madhup Mudgal, Vidushi Paurnima Chaudary & Gundecha brothers.

Bada Khyal of the concert was Raga Malgunji (मालगुंजी). It's said that this is a complex Raag and it belongs to Khamaj that (खमाज थाट). It was first time I heard this Raag in a live concert. She presented Bandish 'Ban mein charawat gaiyan (बन में चरावत गैयाँं)' in vilambit Teen taal (तीन ताल). Her slow and methodic rendition was excellent and was appreciated.

She then presented a Bandish 'Nirpat sabahu bach hare (निरपत सबहू बच हारे)' which is a description of Seeta swayamwar.

It was followed by Tarana (तराना) 'Dhim dhim tana dere na dhim (धीम धीम तना देरे ना धीम)'. Audience appreciated it very much. There was a big applause at the end.

She then chose to sing a very very rare Sankeerna Raag Nat Kamod (नट कामोद) considered exclusivity of Jaipur Atrauli Gharana (Not her Gharana). She chose this one because Alladiya Khan is founder of Jaipur Atrauli Gharana. Again my first time to hear this Raag live. She presented bandish 'Nevar baajo (नेवर बाजो)' very skillfully and audience, many of whom are from Jaipur Atrauli Gharana, appreciated it. My research tells me that this is the only bandish in this Raag i.e. this Raag is sustained by one bandish. Such a rare thing.

She then presented a very rare kind of Tappa called Tappa without Taal (टप्पा विना ताल) 'Miya mainu chand chala (मियाँं मैनूं छाँंड चला)' in Raag Mand (मांड). Again my first time.

She concluded the concert with Tap Bandish (टप बंदिश) of Kumar Gandharva 'O dildara aa ja re (ओ दिलदारा आजा रे)' in Raag Khamaj (खमाज). She dedicated it to him, as it was his birthday. It was very good. Again my first time for Tap bandish live.

Shashwati sung very well. She played Tanpura while singing. Her Bol-Taans (बोल तान) were particularly impressive. She also used Aakars and Sargam. Wow, she sung everything so well, audience was literally mesmerized. Audience who was tentative in the beginning became her fan by the time concert ended.

Tabalji was very good and so was the Harmonium player. However Shashwati was so good that one did not notice them.

Organizers, sensing the public mood, requested her to sing more thereby increasing the length of concert and amount of joy.

This was a very special concert. It was my first time to listen to Malgunji, Nat Kamod, Tappa without Taal & Tap Bandish live. A very rare and memorable treat indeed. It would be remembered for its exclusivity.

She came, she saw, she won is an apt description of the concert. After listening to this concert, I did not feel like listening to any other concert for rest of the day and left.

Trivia: Shashwati is grand daughter of Pt. Balabhu Umdekar.
Audience of this festival was knowledgeable (जाणकार) and clapped only when there was something special.

Entertainment rating 9.25/10.

Varsha Sohoni (Vocal)

Attended a concert of Varsha Sohoni (Vocal) accompanied by Pushkaraj Joshi (Tabla, disciple of Vishwanat Shirodkar) and Supriya Joshi (Harmonium, disciple of Seema Shirodkar) at 39th Sangeet Samrat Alladiyakhan music festival on 8th April 2016.

Varsha Sohoni (Jaipur Atrauli Gharana) hails from Mumbai. She is disciple of Kamal Tambe & Pt. Madhusudan Kanetkar.

Bada Khyal of the concert was Jod Raag Lalita Gauri (ललिता गौरी). It's a combination of Raag Lalit and Raag Gauri. She presented Bandish 'Pitam saiyan (पितम सैयाँं)'' in Vilambit Teen taal (तीन ताल). She mainly used Aakar (आकार) for the badhat (बढत) of the Raag.

Then she presented a fast composition 'Mora mana har (मोरा मन हर)'. Tabalji got to show his skill in this composition. Audience liked it.

She then presented a Tarana 'Tana dere denna denna (तन देरे देन्ना देन्ना)' in Raag Basant (बसंत). Audience generally loves Tarana and so it did.

Concert concluded with a Kajri (कजरी) 'Siya sang jhoole bagiyan mein (सीया संग झूले बगियाँंमें)' made famous by Girija Devi.

Experts in the audience felt that, of Raag Lalita Gauri, Varsha rendered Lalit part very well but had to hurry through the rendering of Gauri part due to time limitation.

Pushkaraj played Taba as required. An ideal accompaniment. Supriya's harmonium was appreciated by the singer. She played well.

Concert duration was about hour. Some more time would have been welcome.

Trivia: This years festival was dominated by vocalists. 17 out of 22 concerts were Vocal.

Entertainment rating 8/10.

Varad Bhosale (Sitar)

Attended a concert of Varad Bhosale (Sitar) accompanied by Unmesha Athavale (Tabla) at 39th Sangeet Samrat Alladiyakhan music festival on 8th April 2016.

Varad Bhosale (Etava Gharana & Imdadkhani style) hails from Kolhapur. He is disciple of Pt. Arvind Parikh. He is only 17 years old.

Raga chosen for the concert was Raag Bhimpalasi (भीमपलासी) of Kafi that (काफी थाट). First Varad played Aalap followed by Jod followed by Jhala.

Unmesha joined him then. Tabla had some problem and had to be tuned four times forcing pauses, causing annoyance to all. Every time Varad guided her to tune Tabla. Initially she played a different kind of Tabla arriving on sum (सम) at the opportune time. Varad then played a drut (दृत) composition in Teen taal (तीन ताल). He had to tell the correct lay (लय) to Unmesha a couple of times.

Young Varad played very well. His long slender fingers ran effortlessly on Sitar. He also had good music sense. His composure and poise bellied his age. As he matures we can expect much more from him. He is a star in making.

Unmesha, who has learned Tabla from her Guru Fazal Qureshi, started very well, lost her way a bit while Tabla tuning problem persisted but recovered later.

Special mention should go to organizers of this festival for giving platform to young upcoming artists. This is how audience comes to know about the future starts.

Duration of the concert was less than 1 hr. Attendance was sparse owing to festival (Gudhi Padva), timing (3 PM) & holiday.

Trivia: Unmesha used copper Dagga (डग्गा).

Entertainment rating 8.25/10.

Shanno Khurana (Vocal)

Attended a concert of Padmabhushan Dr. Shanno Khurana (Vocal) accompanied by Dr. Aneesh Pradhan (Tabla) and Sudhir Nayak (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 7th April 2016.

Shanno Khurana (Agra & Rampur-Sahaswan Gharana) hails from Delhi and is disciple of Utd. Mushtaq Husain Khan & Padmabhushan Thakur Jaideva Singh.

First Raag of the concert was a difficult Sankeerna (संकीर्ण) raag Kaushi Kanada (कौशी कानडा). This Raag can be sung in Bageshree ang (बागेश्री अंग) and Malkans ang (मालकंस अंग). She chose to sing it in Malkans ang. She presented a Bandish 'Rajan ke sirtaj (राजन  के सिरताज)'. She used sargams (सरगम) for the badhat (बढत) of Raag.

Then she presented a fast composition 'Kahe karat Mose barjori (काहे करत मोसे बरजोरी)' in drut Teen taal. There was a very big and long, deserved, applause when she concluded.

Second Raag of the concert was another Sankeerna (संकीर्ण) raag Sawni Bihag (सावनी बिहाग). First Bandish was 'Akal sab Jane (अकल सब जानें)' in Jhap taal. This composition gave a lot of joy to the performers and audience.

Then she presented a Bandish in Teen taal 'Nad ved aparampar (नाद वेद अपरंपार)'. It was her own composition. This composition and her presentation was so good that it still lingers in the mind even a day after the concert.

Then she presented a composition 'Mai ni Mora (माई नी मोरा)' composed by Utd. Mushtaq Hussein Khan, her Guru, of Rampur-Sahaswan Gharana.

Final presentation of the concert was a Tappa (टप्पा) in Raag Bhairavi. 'Aa ja gale lag ja (आ जा गले लग जा)' in Teen taal. It ended with Tarana and big applause.

This beautiful grand old lady captured the audience right from the beginning. She retained their interest and piqued it at the correct time. She was liked by the audience and she liked the audience in turn. Had there been time she was ready to sing even more. But it was already late and organizers indicated a closure.

Aneesh ji is one of the topTabalji in India. He is also a doctorate and had written book on Tabla. He played well and everyone liked it.

Sudhir ji's Harmonium was as usual excellent and he was appreciated by the singer. His understanding and excellent synchronization with Anish ji was evident. This pair always works wonders.

Sawal-Jawab between singer, Tabla and Harmonium were very pleasant. Audience applauded them again and again. It was the highlight of the concert.

Trivia: Organizers announced that Shanno ji, who is such a week known singer, was singing in Mumbai for the first time.

A beautiful and engrossing concert.

Entertainment rating 9.25/10.

Parmeshwar Hegde (Vocal)

Attended a concert of Pt. Parmeshwar Hegde (Vocal) accompanied by Pt. Sadanand Nayampalli (Tabla - Farrukabad Gharana) and Sudhir Nayak (Harmonium - P.Madhukar Gharana) at 39th Sangeet Samrat Alladiyakhan music festival on 7th April 2016.

Parmeshwar Hegde (Kirana, Gwalior and Patiyala Gharana) hails from Bengaluru and is disciple of Pt. Basavaraj Rajguru.

First Raag of the concert was Raag Bihag (बिहाग). He went directly to bandish 'Kaise sukha sove (कैसे सुख सोवे)', with minimum aalap, in Vilambit Ektaal. Tabla instrument had some trouble and had to be tuned repeatedly. I especially liked his delicate taar swar (तार स्वर). It was followed by Tarana 'Ta da re dhim (त दा रे धीम)'.

He presented famous Bandish 'Binati suno mori (बिनती सुनो मोरी)'. Although he did not announce the Raag, it was Raag Bageshri (बागेश्री). His Taans (तान) and Aakars (आकार) were very good. He followed it with 'Sargam (सरगम)'.

Concert concluded with another composition in Raag Bageshri (बागेश्री) in Teen taal (तीन ताल);  'Badra tu ja (बदरा तु जा)'.

Pt. Nayampalli played subdued Tabla in supporting role. He did not smile even once during the concert.

Harmonium of Sudhir Nayak was excellent and was appreciated by audience and artist alike. Too good.

Concert lasted for about 1 hr 10 min.

Entertainment rating 8/10.

Ramprapanna Bhattacharya (Sitar)

Attended a concert of Ramprapanna Bhattacharya (Sitar) accompanied by Unmesh Banerjee (Tabla) at NCPA, Mumbai as part of Saz-e-Bahar festival on 2nd April 2016 with Ravi, Rekha Kaku and Alhad Kaka.

Ramprapanna Bhattacharya (Etawah Gharana) is disciple of Pt. Kashinath Mukherjee and Pt. Arvind Parikh.

He dedicated the concert to Shehnai maestro Ali Ahmed Hussain and Tabla maestro Shankar Ghosh who passed away recently. It was the birthday of Ustaad Bade Gulam Ali Khan and he announced that he will play his composition but eventually did not specify which one was it.

Chosen raag of the concert was Raag Bihag (बिहाग). Concert started with Aalap then moved into Jod, followed by Jhala.

Tabalji then joined him with Teen taal. Tabla volume was on lower side. It was rectified mid way. Ramprapanna played well and tried his best to win the audience back.

When he slid his hand over Sitar there was a sound of hand sliding over threads (Sitar version of car passing over multiple spread breakers at speed). That was a noise (रसभंग) in good music.

Ramprapanna plays well. But today rather than playing melodious or gayki Sitar he preferred to play fast notes with a lot of strumming. Audience was not very responsive, so he tried even harder. In the process the fine balance was lost.

Tabalji joined late and got about 15-20 minutes of playing time (considering short time of concert of about 1 hr) and played well.

Audience clapped exactly 4 times, including the conclusion of concert. Some also left mid way, probably they had some pressing matters to attend.

Can't post any photograph of concerts as organizers did not allow photography.

Trivia: Ramprapanna was playing at NCPA after exactly 10 years.

Entertainment rating 7/10.

Ojas Adhiya (Tabla)

Attended a concert of Ojas Adhiya (Tabla) accompanied by Siddhesh Bicholkar (Harmonium) at NCPA, Mumbai as part of "Saz-e-Bahar" festival on 2nd April 2016 with Ravi, Alhad Kaka & Rekha Kaku.

Ojas Adhiya (Ajrada Gharana) hails from Mumbai. He holds Limca Book record of being the youngest Tabla player. He is disciple of Mridangraj ji.

Concert started with Teen taal (तीन ताल). Siddhesh started with a beautiful piece and was instantly appreciated by audience as well as Ojas. First Ojas played vilambit (विलंबित) demonstrating controlled Tabla. Then he shifted to madhyalay (मध्यलय). Ojas presented Kayda from Delhi Gharana. Finally he changed gear to drut (16X). He also displayed excellent dagga play.

He then presented Ajrada Gharana Kayda. Ojas showed his skill with lightning fast fingers. At times it was difficult to see fingers in the blur of motion. Audience was mesmerized with his Tabla and applauded the artist multiple times. His ghi-da-na-ga (घि ड न ग) was too good. He presented a beautiful Tripalli Gat(त्रिपल्ली गत) followed by Chakradhar (चक्रधर).

Concert concluded with 'nau dha ki gat (नौ धा की गत)', a Gat with 9 dha (धा) that resembles bells in a mandir (मंदिर) during Arati (आरती).

His kayda's (कायदा), tukda's (तुकडा), rela's(रेला), palta's (पलटा), tihai's (तिहाई) and chakradar's (चक्रधर) were awesome. He played pure Tabla without resorting to modern gimmicks most of the time.

Ojas is a fantastic artist. He is already rated amongst top Tabla players in India. More accolades are to follow.

Siddhesh played a very sweet sounding lehra. He knew exactly when to increase and decrease the volume of harmonium. He played his lehra in Raag Maduwanti (मधुवंती).

When I had met Ojas more than a year ago in Abu Dhabi and asked him what is the correct duration for a solo Tabla concert, he had replied that it should not be more than 1 hr to 1 hr 15 min. He walked the talk today. The duration of concert was 50 min.

Can't post any photograph of concerts as organizers did not allow photography. Just photo with the artist.

Wow, what a concert!

Entertainment rating 9.5/10.

Saylee Talwalkar (Vocal)

Attended a concert of Saylee Talwalkar (Vocal) accompanied by Satyajit Talwalkar (Tabla) & Subodh Godbole (Harmonium) organized by Anubhooti at Embassy of India auditorium, Abu Dhabi, on 18th Mar 2016. Attendance to the concert was @90.

Saylee is disciple of Mrs. Usha Deshpande, Mrs. Arti Anklikar-Tikekar and Pandita Padma Talwalkar. She is daughter-in-law of Pt. Suresh Talwalkar and Pta. Padma Talwalkar and wife of Tabla maestro Satyajit Talwalkar.

Concert started with Raag Bheempalasi (भीमपलासी). She presented Bada Khyal in Vilambit Ek taal (एक ताल) 'Ab to badi ber (अब तो बडी बेर)'. Her Aalap were applauded. It was followed by famous bandish 'Biraj mein dhoom machayo Shyam (बिरजमें धूम मचायो श्याम)' in Drut Teen taal and audience liked it. Audience also applauded Satyajit for his Tabla. Then she presented Tarana (तराना). Audience especially liked it and applauded her frequently.

She then presented Chota Khyal in Raag Saraswati (सरस्वती) from Carnatic music. She sung famous bandish 'Sajan bin kaise (सजन बिन कैसे)' composed by Pt. Jitendra Abhisheki and transposed seamlessly in 'Vikal mana aaj zurat asahay (विकल मन आज झुरत असहाय)', a Natya geet a (नाट्य गीत) in same tune.

In the second half she presented a Nirguni bhajan (निर्गुणी भजन) 'Mhare ghar aao ji (म्हारे घर आओ जी)' that ended in a very big applause.

Next she presented a Marathi Abhang (अभंग), originally sung by Gaan Saraswati Kishori Amonkar, 'Bolawa Vittal (बोलावा विठ्ठल)' and seeped the audience in Bhakti Ras (भक्ति रस). Audience joined her by clapping in rhythm for the Nam Gajar towards the end and she liked it.

She then wanted to present last composition but audience egged her for one more. So she boldly chose to sing an off the track form of music called Gawlan (गवळण), 'Sawla Nandacha (सावळा नंदाचा)'. It was a folk song based on Raag Vrindavani Sarang (वृंदावनी सारंग), originally sung by her Guru Arti Anklikar and composed by Achyut Thakur.

Concert concluded with Bhairavi (भैरवी), 'Sun Yashoda (सुन यशोदा)'. Saylee became emotional while thanking everyone before starting Bhairavi.

Saylee offered a lot of variety with Bada Khyal, Chota Khyal, Bhajan, Abhang, Gawlan and Bhairavi. She addressed the taste of all the audience. Audience liked the variety. She sung well and sometimes sung at her limit without going out of tune.

Satyajit is one of the best Tabla player of India and it was for all to see why he is so highly rated. He was too good.

Subodh followed Saylee religiously and showed his skills in the light music section.

Sounds system was good. Some more illumination on stage would have been welcome.

Trivia: Saylee and Satyajit are husband and wife but interestingly, this was their first ever concert together.

Entertainment rating 8.5/10.

Disclosure: I am a founder member of Anubhooti.

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

Classic Harmonies

Attended a concert titled 'Classic Harmonies', an orchestra of Hindi oldies. Singers were Anjali Marathe, Jitendra Abhyankar and Dattaprasad Ranade. Musicians were Ninad Solapurkar (Keyboard), Rohan Vanage (Octopad) and Vishal Gandratwar (Tabla). Dr. Amit Tribhuvan was the anchor of the program. This program was organized by Maharashtra Mandal Abu Dhabi (MMAD) at Indian Islamic Center, Abu Dhabi on 19th Feb 2016.

Since the program was on Shiv jayanti (Chatrapati Shivaji's birth anniversary) they started with 'Jaydev Jaydev jayjay Shivraya (जयदेव जयदेव जयजय शिवराया)' from album 'Shiv Kalyan raja (शिवकल्याण राजा)'.

Thereafter they presented their main Hindi program. They started with ''Aaiye meherbaan (आईए मेहेरबाॅं). Audience immediately asked for 'once more' which was duly complied. Then they presented 'Dilka bhavar kare pukar (दिलका भॅंवर करें पुकार)' from film 'Tere gharke samne (तेरे घरके सामने)' & 'Yun hasaraton ke dag (यूॅं हसरतोंके दाग)'. The singer went out of tune in this song. Then they presented a medley of Kishore Kumar songs that included 'Ye Jo mohobbat hai (ये जो मुहोब्बत है)', 'Lena hoga janam hamein (लेना होगा जनम हमें)' & Dilbar mere (दिलबर मेरे). Hemant Kumar's 'Yaad kiya dilne kahan ho tum (याद किया दिलने कहाॅं हो तुम)' was next.

Dattaprasad Ranade, who was silent until now, started his performance with Mehdi Hasan's famous Gazal 'Ranjish hi sahi (रंजिश ही सही)'. Audience applauded with clasps the moment he started. He informed that this Gazal was originally not written for mehbooba but for Pakistan's democracy. Audience gave him a big applause and demanded 'once more'.

There was another medley that included 'Jaminse hame (जमीनसे हमें)', 'Ye ratein ye mausam (ये रातें ये मौसम)', 'Dil ki najar se (दिलकी नजरसे)' & surprisingly 'Tumse milke (तुमसे मिलके)'.

Anjali's Raat akeli hai (रात अकेली है) was applauded by the audience. 'Kahin dur jab din dhal jaye (कहीं दूर जब दिन ढल जाए)' was applauded for keyboard play. 'Janeman janeman (जानेमन जानेमन) from film 'Chotisi baat' was next. Lead singers demonstrated good chemistry in this song. 'Jhumka gira re (झुमका गिरा रे)' was also widely applauded. Dattaprasad presented one of the most famous and meaningful film gazal 'Chitthi ayi hai (चिठ्ठी आई है) in his soulful voice. Needless to say audience demanded 'once more' and got it. In 'Neele neele ambar par (नीले नीले अंबरपर)' Jitendra sung some wrong words but quickly rectified. Though Ninad played keyboard commendably, absence of guitar was strongly felt in this song.

Then they presented 'Dil cheez kya hai (दिल चीज़ क्या है)', Ghulam Ali's most famous Gazal 'Chupke Chupke (चुपके चुपके), the evergreen 'Ai meri joharjabi (ऐ मेरी जोहरजबी) & 'Kajra mohobbat wala (कजरा मुहोब्बतवाला) where Anjali sang in two scales.

Gazal medley consisted of 'Hothon se choo lo tum (होठोंसे छूलो तुम)', 'Tumko dekha to ye (तुमको देखा तो ये)', 'Tum itna jo muskura rahe ho (तुम इतना जो मुस्कुरा रहे हो)', 'Hanske bola karo (हॅंसके बोला करो)' & 'Ye daulat bhi lelo (येदौलतभी लेलो)'. This medley should have come earlier.

In grand finale Jitendra sung two songs: First was 'O sawariya (ओ सावरीया)' from movie 'Half Ticket' in male as well as female voice like KK and second was 'Laga chunarimein daag (लागा चुनरीमें दाग)' with its ageless Tarana.

Some of the songs were played with live music and some were karaoke. I did not understand logic of singing with karaoke when there was an ensemble of seven artists.

Dattaprasad was best singer of the night. Anjali and Jitendra sung well. Jitendra presented some of the songs for second  or third time in Abu Dhabi in last 3-4 years. Musicians also played well.

Anchor had a deep voice and conducted the program in Hindi with some sprinkling of Marathi. He narrated small incidents and trivia about these songs making his narration interesting. However he presented oldies one after another without choosing any theme to follow. Thus he jumped from one time period to another, once musician to other, one style to other. Though all songs were good, they were haphazard & I did not find it orderly.

Acoustics of this auditorium are not good. The hall was not full and that worsened the situation as the sound echoed. But it was better than some if the previous programs.

As stage property they used posters of eight movies on wing curtains but ironically did not sing a song from any of them.

I noticed something different in medleys. They started all songs of medley from mukhda insured of antara.

Program started half an hour later and was attended by about 200 to 250 people.

Some artists probably drank too much water and had to take break mid program when they were not performing.

MMAD should probably think about organizing a Gazal special one day.

Entertainment rating 8/10.