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.