Saturday, 23 December 2017

Kay Kay or KK

Attended a concert by Kay Kay or KK titled 'Mesmerizing KK'. Accompanying Artists were Rinku Rajput (Keyboard), Jaydeep Tirumalai (Base guitar), Lindsey Demello ( Drums), Kalyan Barua (Guitar), The concert was organized by  India Social and Cultural Centre as part of their Golden Jubilee Celebrations on their roof top on 21st Dec 2017. I attended the concert with Aditi, Mihika, Pooja, Sameer, Rucha, Neha, Prakash, Swati Gauri, Gargi, Priya, Santos, Ashok, Savita, Saanvi and Ishanvi.

This open air concert was originally scheduled on 8th Dec but was cancelled at last moment due to bad weather and shifted today. 

KK (Krishnakumar Kunnath) is considered one of the most versatile singers in India. He has never undergone any formal training in music. He sung more than 3500 jingles before breaking into Bollywood and has sung numerous hit songs.

Concert started with 'Kya muze pyar hai (क्या मुझे प्यार है)'. Audience instantly responded and sung with him. It was followed by 'Dil ibadat (दिल ईबादत)' and then 'Sach keh raha hai diwana (सच कह रहा है दीवाना)' from film RHTDM.

He then sung 'Tuzko jo paya (तुझीको जो पाया)' composed by Pritam followed by 'Labon ko labon pe (लबोंको लबोंपे)' and 'O humdum suniyo re (ओ हमदम सुनियो रे)'. Then he sung 'Sung hoon tere (संग हूं तेरे)'. I had never heard this song before. 

He sung a song dedicated to all beautiful ladies 'Akhon mein teri ajabsi (आखों मे तेरी अजबसी)' and made them sing. 'Abhi Abhi dilki suni hai (अभि अभि दिलकी सुनी है)' and 'Tuhi meri shab hai (तुही मेरी शब है)' followed suit. 

His famous song 'Yaron dosti (यारों दोस्ती)'. He told how he recorded a song solo while on vacation in Australia, upon urgent request of composer Pritam. He sung that song from film Bajarangi bhaijan 'To jo mila (तू जो मिला)'. It was followed by fast song 'Hai junoon (है जुनून)'. This was interval. 

After interval he narrated a story of how he came to sing one of his most famous songs and then sung it 'TadapTadap ke (तडप तडपके)' from Him dil de chuke sanam. He sung this song with only keyboard and then guitars to accompany.  No rhythm. He sung it with his heart. 

'Hum rahe ya na rahe (हम रहे या ना रहे)' a slow and delicate song was followed by faster 'Khuda jane ke mai fida (खुदा जाने के मैं फिदा)'. He played a small trumpet piece by mouth during this song. 'Jarasi dilmein de jagah tu (जरासी दिलमें दे जगही तू)' followed thereafter. 

The mood changed to rhythmic beats for dancing in the final segment of concert. He sung 'Tune mari entriyan (तूने भारी एंन्ट्रीयाॅ)'. He started with Bengali version and them switched to Hindi. Audience entered the pit and danced, all our kids included. Then came title song of remake of film Don 'Main hun Don (मैं हूं डाॅन)'. He removed his jacket for the next song 'Dus bahane karke (दसरा बहाने करके)'. It was immediately followed by 'Desi boys (देसी बाॅईज)' and 'It's the time to disco (इट्स द टाईम टु डिस्को)'

'Koi kahe kehta rahe (कोई कहे कहता रहे)'.In the Josh, he went out of tune in this song. He introduced the musicians and gave each of them 2 minutes of fame. He concluded the concert with same song. 
It was an experience of re-education Ann's revelation for many. Song is known. Oh! It is sung by KK!

KK, clad in black suit, entranced the audience. To gauge the audience involvement he sometimes missed a line and kept quiet but the audience sung instead and carried the song forward for him to pick up.  Audience needed no urging to sing along. KK's voice has a special quality. His unpretentious attitude won the audience instantly. 

Being a Mallu by origin and the program being in The Gulf, it's commendable that he resisted temptation of singing a Malayalam song. 

All the musicians were good. A concert with just four musicians is a rare deal. But no instrument was found wanting. 

Audio system was very good. Strobe lights from stage on audience were source of eye irritation. Program would have been better without them. 

Audience's sing-along was unprecedented. Audience mostly sang vocables and I realized how many of his songs have liberal dose of vocables. This was one concert where I found it most. 

Entertainment rating 8.5/10.

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



Sunday, 10 December 2017

D# Fusion: From strings to soul...

Attended a concert titled "D# Fusion: From strings to soul...". Today's performing artists were Troily Dutta (Sarod), A. Rajesh (Ghatam), Jay (Keyboard and Vocal) and Soumen Hazra (Tabla). Aryaman and Aritrika were the child singers who made a brief adherence. The program was organized by  D# Fusion in Embassy of India auditorium on 9th Dec 2017. I attended the concert with Jayant.

As the title suggests, it was a fusion concert. However, it was not the fusion of east and west but the fusion of Indian classical music, contemporary music, Indian folk music and Bollywood classics. It was fusion with a difference. 

Concert started with 'Divinity' a composition in Raag Yaman (यमन). They presented song 'Aadi pujit pad pankaj' followed by a bandish 'Zid na dharo', where Ghatam joined in.  Singers sung good Sargam during this Bandish. 

Second composition was in Raag Maru Bihag (मारू बिहाग) (Attributed to Ustad Alldiya Khan, founder of Jaipur-Atrauli gharana). They presented song 'Pia tora kaisa abhiman' from film Raincoat. Then they played fusion with drums, however, it was a pre recorded track for drums. 

Next they presented a Symphony in Raag Tilak Kamod (तिलक कमोद). The combination of Ghatam, Tabla and Sarod sounded very good. It was a char taal ki sawari with Vilambit in 11 beat cycle and Drut in 16 beat cycle. This included very enjoyable Sawal-Jawab between Ghatam and Tabla.
Here there was a break of 5 minutes that lasted 15 minutes. It broke the flow. I thought it would have been better to skip the break. 

First composition after break was titled 'Serenity'. It was an improvisation of Raag Hemant (हेमंत). Raag Hemant was created by Ustad Allauddin Khan. They presented famous song 'Ye hausla kaise jhuke' from film Dor. Soumen played electronic drums for this song. 

Medley of folk numbers from Rajasthan, Assam, Maharashtra and Bengal was next on agenda. This included Raag Mand (मंद), Dhun probably in Mishra Khamaj (मिश्र खमाज) and Bhairavi (भैरवी).
Concert concluded with a composition 'The eternal joy' based on Raag Hamsadhwani (हंसध्वनी).  They presented 'Bavra man dekhne chala ek sapana' from film 'Hazaron khwahishe aisi' followed by famous Carnatic composition 'Vatapi Ganapati'. There was Sawal-Jawab between Sarod, Percussionists and Vocal during this. 

At this point Sarod chords snapped. It was a difficult moment. But rest of the performers showed presence of mind to continue with Vatapi Ganapati until she restored the chords. This one was real impromptu. Then they took up where they had left and reached crescendo to conclude inn a high note. 

Why the name D# Fusion? Sounds different! Well, D# for D Sharp note and D'Fusion of music. Creative and Innovative!

Concert started almost one hour late. Previously declared Ghatam player, Kadir, could not participate due to unforeseen reasons, so Rajesh was flown in from India for this concert. He is a professional artist and obviously played well. 

Soumen used two Tablas. However, rather than changing, he arranged both in front of him and played the one he required. He also played drums and demonstrated his versatility. 
Jay, the vocalist, used keyboard for chords. If he had played keyboard it would have become more profound.

Triolee plays Sarod very well. She had to under play to stay with the group. She has potential more than what was on display. I would like to see her play pure classical solo Sarod. 
Audio system was very good. A guy was taking photos of artists throughout the program, disturbing them. Attendance was about 75.

Local artists have shown that they can create content at par with others. Encouragement is due. Well done!





Sunday, 26 November 2017

Gauri Pathare (Vocal)

Attended a concert of Gauri Pathare (Vocal) accompanied by Rigved Deshpade (Tabla) & Niranjan Lele ( Harmonium) organized by Anubhooti at ISC, Abu Dhabi, on 25th Nov 2017. Attendance to the concert was @ 90.

Gauri Pathare is disciple of Pt. Jitendra Abhisheki and Pandora Padmatai Talwalkar. Niranjan is disciple of Pt. Tulsidas Borkar and Rigved is a disciple of Pt. Ramdas Palsule.

Bada khayal of the concert was Raag Gawati (गावती).  Compliments to the singer for choosing off the beaten track raag. She sung bandish 'Aas lagi tumhare charan ki (आस लागी तुम्हरे चरण की)' in Taal Ektal (एक ताल). She started with a good meend and displayed all the fine nuances of the raag.

Second bandish of the raag was 'Hamari paar karo sai (हमरी पार करो साई)'. This one too was very good. Both the Bandishes were of her guru Pt. Jitendra Abhisheki.

Chota khayal of the concert was Raag Shree (श्री). She sung bandish 'Hari ke charan kamal (हमरी के चरण कमल)' in madhyalay Jhaptaal (झप ताल). I think this was originally sung by Pt. D. V. Paluskar. Second bandish of Raag Shree was Vidushi Padma Talwalkar's 'Chalore mai Ram Siya darasanko (चलो रे माई राम सिया दरसन को)' . Both the Bandishes were crisp. 

She then presented a raagmala 'Durga mata Bhavani devi (दुुुुर्गा माता भवानी देवी)'. A praise of all the goddesses. 

In the second half she switched to semi classical and presented two Hori's consecutively.  First was 'Rangi saari gulabi chunariya re (रंगी सारी गुलाबी चुनरीया रे)' in Raag Mishra Pahadi (मिश्र पहाडी) and Taal Dadra (दादरा). This song became famous after it was included in movie Gulab Gang.

Second Hori was Girija devi's 'Rang darungi Nandke laalan pe (रंग डारूंगी नंद के लालन पे) ' in Raag Tilak Kamod (तिलक कमोद). I remember that Dr. Kavita Gadgil presented this Hori in Anubhooti concert in 2014. Both these were known compositions, Gauri sung them very well; so audience liked them very much. 

She then presented two Marathi songs of Pt. Jitendra Abhisheki. First was Raag Bhoop (भूप) based, Natyageet 'Maze jeevan gane (माझे जीवनगाणे)'. With majority of audience being Marathi, this was bound to be a hit.

Second song was Raag Deshkar (देशकार) based famous 'Abeer gulal udhalit rang (अबिर गुलाल उधळीत रंग)' written by Sant Chokhamela. Audience recognized the song and applauded as soon as she started the song.

Concert concluded with a Bhairavi (भैरवी). This was again a Natyageet (नाट्यगीत)  'Kare aisi maya lawili mala (का रे ऐसी माया चालविली मला)'. This was originally sung by Jyotsna Bhole (ज्योत्स्ना भोळे) for the play 'Kone eke kali (कोणे एके काळी)' and was composed by Master Krishnarao (मास्टर कॄष्णराव). Bhairavi always stirs emotions in you that are beyond words. This was no exception. 

Gauri is a fine singer. Years of hard work is evident in her gayaki. She handled difficult patterns very well. I liked her harkat's very much. Her singing style was a blend of Kirana and Jaypur gharanas and it highlights specialities of both. She encouraged accompaniests from time to time and applauded when they did something special. She was humble and gave credit of her achievements to her Gurus.

Niranjan is one of the very talented and established Harmonium player of his generation. He was in his element and drew multiple applauds from the audience.  His Harmonium literally sang. Generally the common audience is known to applause Tabla and usually Harmonium is a distant second. Here Harmonium was applauded more than Tabla. It says a lot about the Harmonium player as well as the audience. It should be noted that many of the disciples of Pt. Tulsidas Borkar, Niranjan included, are doing very well. 

Young Rigved also deserves praise. He is an epitome of Work-Passion balance. He works in Infosys and pursues his passion with equal vigour, ignoring neither. He too was applauded by audience and Gauri. If he continues his graph, he has a great future.

Humility was the most heartening aspect of the artists. Thus they were liked off the stage too. 
Special mention should go to the audience. They applauded and encouraged the artists with well placed claps and appreciation. Gauri ji acknowledged the knowledgeable (दर्दी) audience after the concert. 

The concert lasted for little over 2 hours. Sound and lights were good. This was Anubhooti's 12th concert. It came after a gap of 1.5 years. 

Trivia: A fly was flying on the stage during the concert, occasionally troubling artists. It appeared as if it was also fluttering to the tune of music and instead of joining audience chose to be in the lime light.

A very satisfying concert.

Disclosure: I am a founder member of Anubhooti.





Thursday, 16 November 2017

Pankaj Udhas (Gazal)

Attended a gazal concert by Pankaj Udhas. 
Accompanying Artists were Visual Dhumal (Keyboard), Rashid Mustafa Thirkawa (Tabla), Nirmal Pawar (Side rhythm), Nasir Sajjad Hussein (Mandolin), Ninad Mulaokar (Bansuri). Ashish Choube was in charge of Sound and Vimal Joshi handled light and stage. The program was organized by  India Social and Cultural Centre as part of their Golden Jubilee Celebrations on their roof top on 16th Nov 2017. I attended the concert with Aditi, Mihika, Sucheeta, Jayant, Pooja, Sameer, Rucha, Prakash, Gauri, Jyoti, Pratyush and Vijay.

Gaurav Sharma was called on stage to talk about Pankaj Udhas before the concert. He cracked one joke and spent few minutes on stage screaming, without giving any information about Pankaj Udhas.

Concert started with 'Aap jinke karib hote hai (आप जिनके करीब होते है)'. This song was not as good as it normally is. It was followed by Mumtaz Rashid's gazal 'Niklo na benaqab (निकलो ना बेनकाब)' and 'Diwaron se Milkar rona accha lagat hai (दीवारोंसे मिलकर रोना अच्छा लगता है)'. He then presented Anwar Farukhabadi's famous gazal 'Sabko malum hai main (सब को मालुम है मैं)'.

He then shifted to his film song from movie Sajan 'Jiye to jiye kaise (जिए तो जिए कैसे)'. He sung this one slower than the film version. He then presented one of his most famous 'Chandi Jaisa rang hai tera (चांदी जैसा रंग है तेरा)'. Audience applauded as soon as he started and continued throughout the song. 

There was a very long interval after this song that included speeches and felicitation. This long interval broke the flow of concert. This should have been done before the concert.

First gazal after the break was 'La pila de sakiya (ला पिलादे साकीया)'. Next was 'Aur aahista kijiye batein (और आहिस्ता कीजीए बातें)'. This slow song was followed by one of his most famous 'Hui mehengi bahuthi sharab ke (हुई महंगी बहुत ही शराब के)'. Keyboard player shone in this song with his fast fingers. He then sung 'Tum kitni Sundar ho (तुम कितनी सुंदर हो)'. Audience clapped as soon as he started with 'Na kajre ki dhar (ना कजरेकी धार)'.

Then he presented his most famous song 'Chitthi aai hai (चिठ्ठी आई है)' from film Naam. It was undoubtedly best song of the concert and audience experienced goose bumps.  

He then presented a medley of 'Aaiye barishon is mausam hai (आईए बारीशोंका मौसम है)', 'Sharab cheez aisi hai (शराब चिजही ऐसी है)', 'Aaj fir tumpe pyar aaya hai (आज फिर तुमपे प्यार आया है)' and 'Aye gamein jindagi (ऐ गमे जिंदगी).

Concert concluded with 'Ghungroo toot gaye (घुंगरू टूट गए)'. Musicians were introduced during this song. 

Earlier Pankaj ji said that the audience assumes that the gazal singer imbibes alcohol before the program to come in mood but the inebriation of claps of audience is more than enough for him and alcohol is not required. Well said!

Pankaj ji's voice was shaky at the start of the concert. It stabilized a lot during the concert.  Let's just say today was not the best of his days. 

All the musicians were good. Tabalji drew audience applause multiple times. Side rhythm and Bansuri was good and so was the key board. However, Sajjad Nasir was too good with mandolin. He was the pillar of concert. 

Audio system was very good. Despite it being an open air program there was no deterioration of Sound quality. But the volume of instruments was high, should have been a little low. Sometimes it became harsh and overshadowed vocals. 

Entertainment rating 7/10.



Saturday, 30 September 2017

Kaviteche paan (कवितेचं पान)

Attended a concert titled "Kaviteche paan (कवितेचं पान)". 
Artists were Madhurani Prabhulkar, Sharwari Jamenis and Kaushal Inamdar, who also played Harmonium. The program was organized by Maharashtra Mandal Abu Dhabi at  Embassy of India auditorium on 29th Sept 2017. I attended the concert with Aditi, Sucheeta, Jayant, Pooja, Sameer, Swati, Prakash, Jyoti and Vijay.

Madhurani has been doing a web series with same title on you tube. It had become a rage.  This was the first live program of 'Kaviteche pan (कवितेचं पान)'. 

Program started with a very meaningful prarthana 'Hich amuchi prarthana (हिच अमुची प्रार्थना)'. This song has become immensely popular recently, from movie Ubuntu. Music of this movie is by Kaushal.

Mangesh Padgaokar's hilarious poem 'Tumche kay gele? (तुमचं काय गेलं?) followed up by another one by same poet, a romantic one, 'Maj navhate thauk (मज नव्हते ठाऊक)' by Sharwari. Kaushal presented 'Paus (पाऊस) by Kavivarya Shankar Vaidya. Madhurani presented a very short, but beautiful, poem 'Chatri (छत्री)' by Guru Thakur. Kaushal presented two poems of by Naresh Patil. 'Mazya chatak maitara (माझ्या चातक मैतरा)' and 'Hindkalale abhal (हिंदकळलं आभाळं)'. Sharwari enacted the later with her dance that enhanced the beauty. 

Suresh Bhat's two poems 'Ajun kahi (अजुन काही)' and 'Geet asawle tuzyasathi (गीत आसावले तुझ्यासाठी)' were presented by Kaushal followed by 'Sajan dari ubha (सजण दारी उभा)' enacted by Sharwari and sung by Madhurani.

Kaushal presented Prof Ashok Bagwe's 'Rangat ye tarangat ye (रंगत ये तरंगत ये)' where the poet commands the words and the words comply. This was a special poem where poet uses two words with difference on one letter but very  different meaning in every stanza, a fantastic word play.  Then they presented Vaibhav Joshi's 'Tari pan (तरी पण)' and Saumitra's 'Tuze maze lagna (तुझं माझं लग्न)'. It was followed by Arun Kolhatkar's poem 'Ektepan (एकटेपण)' and Sanjeevani Bokil's 'Mazya hirwya mahera (माझ्या हिरव्या माहेरा)' enacted by Sharwari and music composed by Madhurani. This one brought tears in the eyes of some. 

'Maza zoka (माझा झोका)' by Ashok Bagwe was followed by Shashi Dambhare's two poems 'Chahachya kapasobat (चहाच्या कपासोबत)' and 'Kshama (क्षमा)'. Kaushal presented a sphut (स्फुुुट) he authored, where he assigned various drinks to various singers based on similarities in characteristics. It was too good. It was followed by Mahesh Keluskar's 'Ranat zimma paus (रानात झिम्म पाऊस)' composed by Kaushal. Sharwari presented 'Ajun nahi jagi Radha (अजुन नाही जागी राधा)' about love of Kubja for Krishna.

It was followed by 'Smarashil Radha (स्मरशिल राधा)' of Kusumagraj on Kubja sung by Madhurani and performed by Sharwari. Kaushal presented famous 'Pruthviche premgeet (पृथ्वीचे प्रेमगीत)' of Kusumagraj composed by Kaushal. Sharwari presented another poem of Kusumagraj 'Ahi-Nakul (अहि नकुल)', a fight of Serpent-Mongoose. Wow! What a poem. It was graceful, picturesque and Sharwari brought out alive by her expressions. Madhurani then presented GaDiMa's hilarious poem, a dialogue between two dogs, pine old and one young.
  
Kaushal presented first 12 lines of a very long poem 'Mohini (मोहिनी)' of Balkavi for which he composed music. This one brought the tempo bit down. Madhurani presented 'Ti  mhanali (ती म्हणाली)' of Sanjay Chaudhari about mother and her daughter. Sharwari performed while seated, without getting up. 

Kaushal presented famous 'Tukobachya bhetis Shakespeare ala (तुकोबाच्या भेटीस शेक्सपीयर आला)' by Vinda Karandikar. Madhurani presented 'Darshanala ala? (दर्शनाला आला?)' by Kusumagraj. Sharwari presented Ravindranath Tagor's  prose translated by Khanolkar.

Program concluded with very famous Marathi abhiman geet (मराठी अभिमान गीत), a song that underlines greatness of Marathi language.  It is composed by Kaushal, recorded in 11 studios, sung by more than 450 singers and played by more than 70 musicians. This song had become an iconic song since its release. There was a long applause and standing ovation at the end. 
This program featured many unknown poems. They were appreciated by audience for their quality, the presentation and not because they were known.

Madhurani is an actress and has also composed music. She conceptualized this program. Kaushal is a well known music composer, a good singer and had brains. Sharwari is an actress and an accomplished Kathak dancer. Her expressive dance, subtle expressions and skill were exceptional. She performed without rhythm. Her performance took the program to a different dimension making it exquisite. She was the icing on the cake. 

What was unique about the artists? None of them is uni dimensional. All of them are multi talented and multi faceted. That's why they were able to bring that additional X factor to the program. They delivered with conviction. Their pauses, semi pauses and repeats were timed perfectly. Their expressions emphasized all the important punches and delicate phrases. 

What was unique about the program? It's a niche thematic program. Poets don't present their poems but presenters select poems from various poets and present them. Although this program was not string into a theme, outs informal nature and brilliance of the actors made it a memorable one.
Special mention should go to audience.  Although the auditorium was not full, the ones who attended were good. Audience was knowledgeable, appreciative, understood the finer nuances and liked the performance. There was evident with wah-wah, kya-bat-hai, aa-ha and clapping. Artists crave for such applause. 

MMAD committee should be appreciated for having the creativity to request the artists to start performing this program live and conceptualizing a program dedicated to poems. Its rare to get to attend such literary programs. Committee deserves a big applause.

A memorable evening. 

Entertainment rating 9/10.




Sunday, 16 July 2017

Shivkumar Sharma (Santoor) and Zakir Hussain (Tabla)

Attended a concert of Pt. Shivkumar Sharma (Santoor) and Ut. Zakir Hussain (Tabla). They were playing together in Pune after 5 years and this was also the golden jubilee of association of these two legends. They were accompanied by a person on Tanpura whose name was never declared. The program was organized by Sa va Ni Sur Sangeet at Mahalakshmi lawns, Pune on 15th July 2017. I attended the concert with Sarang, Meenal, Jiten, Dhanashree, Subhash Risbud and Ravi.

Concert started with Raag Bhoop. He played traditional Aalap and Jod for 20 minutes. It was followed by two compositions. First one was a Dadara in Jhap taal and second was a Tarana based Bandish in Ek Taal. These two took another forty minutes. 

Zhakirji was applauded on this first touch to Tabla. There was a big applause at the end of the Raag. It was raining during the concert. Panditji made a hilarious comment that he did not know that Raag Bhoop brought rains. 

Second Raag of the concert was Mishra Shivranjani. He played a Dhun in this raag first. The concert ended with a Drut Gat. A small girl of about 6-7 years was trying to dance on this gat.

Its always a delight to watch these maestros play individually. When they play together it ought to have been a treat. Howe ever, thrice there was a mismatch between the artists. Its unprecedented.

Mahalakshmi lawns is an open area close to water body. As a result there was a mosquito menace and audience clapped individually for all the wrong reasons (mosquito bite). The concert was originally organized at Pandit farms and was changed by the organizers three days before the concert. Reason unknown. However organizers had the decency of apologizing for this. Seating area was an elongated rectangle pendal, as a result I could hardly see the faces of performers from my seat. There were about 60 fans in pendal, half of them out of order and remaining ineffectual. If this program was in summer or even spring, it would have been very hot.

Acoustics were impacted by external noise. Some band was playing outside creating a lot of ruckus. Even the artists were distracted and said so. Such concerts should be held in a closed auditorium with good acoustics.

Although the maestros were playing, audience could not enjoy due to non artist related factors mentioned above. 

Entertainment rating 7/10.



Friday, 26 May 2017

Kusumanjali (कुसुमांजली)

Attended a musical program titled 'Kusumanjali (कुसुमांजली)'. A program featuring singers Prajakta Gokhale, Sujata Bachal, Shrikant Bhat and Girish Pande. They were accompanied by Prafulla Soman (Tabla) and Sarita Kulkarni (Harmonium). Prashant Kulkarni read the poems. Vidya Bhat, Gauri Kulkarni, Prashant Kulkarni and Nilesh Ambikar anchored the program.  The program was conceptualized, written & directed by Prashant Kulkarni and organized & produced by Nilima Wadekar.

This was a thematic program organized by 'Grantha tumchya Dari (ग्रंथ तुमच्या दारी), Abu Dhabi chapter'. Grantha tumchya Dari is an initiative of Kusumagraj Pratishthan (कुसुमाग्रज प्रतिष्ठान) to encourage Marathi book reading culture. I attended this program at residence of Nilima and Gaurav Wadekar on 26th May 2017.

Vi. Va. Shirwadkar (Pen name Kusumagraj - कुसुमाग्रज) was a very wee known Marathi poet, author and play write. His work is read and studied widely. He was awarded India's highest literary award, 'The Dnyanapeet puraskar (ज्ञानपीठ पुरस्कार)' and Padma Bhushan (पद्म भूषण). His contribution to Marathi literature is unmatched.

Program started with a video clip on Kusumagraj that elucidated his life, literary contribution, social work and personality.

Program started with very famous revolution poem and song 'Garja jayjaykar (गर्जा जयजयकार). Prashant presented two beautiful poems 'Kana' and 'Premyog'. Prajakta presented 'Hasra nachra (हासरा नाचरा)'. Sarita's harmonium was appreciated. Sujata presented 'Sarveshwara shivsundara (सर्वेश्वरा शिवसुंदरा)', curiously, without music accompaniment.

Girish presented 'Kahi bolayache ahe (काही बोलायाचे आहे)' and was applauded instantly. Prajakta then presented an unknown love song of Earth 'Yuga maguni (युगा मागुनी)'. She sung melodiously. Anchors presented a hilarious story 'Patras Karan ki (पत्रास कारण की)'. The story and presentation was too good.

Prashant presented 'Prem kar bhilla sarkhe (प्रेम कर भिल्लासारखं)'. It was followed by 'He surano Chandra wha (हे सुरांनो चंद्र व्हा)' from the play Yayati-Devayani by Prajakta and Girish. Tabalji struggled little bit.

Nilesh read out excerpt of Shirwadkar's interview of how he conceived and wrote Natsamrat (नटसम्राट). Prashant also presented three immortal passages from the same play.

Prajakta and chorus presented Samargeet 'Vedat Marathe veer daudale saat (वेडात मराठे वीर दौडले सात)' that tells the story of Prataprao Gujar and his six generals. Sareeta played well. Audience demanded once more and joined the singers while singing.

Program ended with his prarthana to the lord of world for the humanity 'Sarvatmaka Sarveshwara (सर्वात्मका सर्वेश्वरा)'.

Program started half an hour late. Sound system was good. For a large living room and small program it was ideal. Artists were not introduced at the beginning or during program, only at the end when memento was presented.

Four anchors for this program (when there were only four singers) was a bit skewed. But they carried the program well. All the artists were amateur artists, none professional. All of them performed well, however, Nilesh stood out. It was announced that the artists got only 10 days to prepare for the program. In that case it was a commendable effort.

Program was attended by more than 50. This program can be classified as well attended and a success. It lasted for little less than two hours. It was neither lengthy nor cramped. The variety and length made it crisp. Organizers expressed their intention to do more such programs. It's a very good initiative.

Grantha tumchya Dari should be applauded for conceptualizing and presenting this unique program. It's not very often that you get to attend such programs.

A very good program.

Entertainment rating 8.75/10.
I have given extra points for the concept, variety and to the fact that it was more literary than entertainment.


Friday, 19 May 2017

Garjate Marathi (गर्जते मराठी)

Attended a concert titled 'Garjate Marathi (गर्जते मराठी)'. A concert featuring singers Sawani Ravindra, Kartiki Gaikwad and Aniruddha Joshi. Chinmay Udgirkar was the anchor. They were accompanied by Bhushan Rao (Tabla), Shrirang Urekar (Keyboard & conceptualization), Parimal Joshi (Synthesizer & music arranger) and Abhay Ingle (Percussion pad & Side rhythm).
This program of Marathi songs was organized by MMAD in Embassy of India auditorium on 19th May 2017.

There was a traditional start of the program with a Nandi (नांदी). 'Panchtunda nara runda  (पंचतुंड नर रुंड)' of Bal Gandharv. So many programs have started with this Nandi that it can easily be called the most famous Nandi.

First section was filled with Bhaktiras (भक्तीरस). Sawni presented Abhangwani in medley. 'Sundar te dhyan (सुंदर ते ध्यान)', 'Are are Dnyana zala (अरे अरे ज्ञाना झाला)', 'Jaydev Jaydev jai jai Shivraya (जयदेव जयदेव जय जय शिवराया)'.  Kartiki presented 'Indrayani Kathiawar (इंद्रायणी काठी). Aniruddha then presented 'Maze maher pandhari (माझे माहेर पंढरी)'. He sung it faster than the original of Pt. Bhimsen Joshi, thereby not allowing time to enjoy. However, he sung very well and deservedly got 'once more'. Idea of Percussion pad rhythm to abhang was interesting. Then 'Man suddha tuza (मन सुद्ध तुझं)' was presented by Kartiki with perfect old style singing.

Program then moved to Balgeet (बाल गीत) genre. Sawani presented medley of 'Gori Gori paan (गोरी गोरी पान)', 'Nach re mora (नाच रे मेरा)',  'Zuku Zuku Zuku Zuku agingadi (झुकु  झुकु झुकु झुकु आगीनगाडी)'. All the little children danced spontaneously (upon encouragement by performers) on this song.

Program then moved to Veer ras with Powada (पोवाडा) composed and sung by Aniruddha for movie Sangharshayatra. He sung it on pre-recorded music. It was a good composition. Sawani then presented the song that introduced her to Maharashtra. Romantic song from TV serial Honar sun mi tya gharchi 'Nahi kal'le kadhi (नाही कळले कधी)'. Sawani then sung title song of serial 'Pasant ahe mulgi (पसंत आहे मुलगीi'. She sung it on pre-recorded music. Aniruddha sung 'Gajryacha gandha (गजऱ्याचा गंध)'. Kartiki then sung her most famous song 'Ghagr gheun (घागर घेऊन)'. As expected she got 'once more'. This song was a testament of transformation of a little girl to a young lady.

Program then moved to romance with Arun Datey's 'Shukratara mand Vara (शुक्रतारा मंद वारा)' by Aniruddha and Sawani. Sawani presented a 'Lagin geet', my favourite, 'Gorya Gorya galawari (गोऱ्या गोऱ्या गालावरी)'. Chorus plays a very important part in this song. Aniruddha sung it alone excellently and gave goose bumps. Once more was not respected for this song.

Then they moved to a unique speciality of Marathi music, 'Natyageet (नाट्य गीत)'. Kartiki presented 'He surano chandra wha (हे सुरांनो चंद्र व्हा)'. Aniruddha then presented famous 'Surat piya ki (सुरत पिया की)' from Katyar kaljat ghusli (कट्यार काळजात घुसली). He topped it up with a very good Tarana.

Sawani and Aniruddha presented 'Amhi thakar thakar (आम्ही ठाकरं ठाकरं) from movie Jait re Jait (जैत रे जैत). Probably they did not practice this song together.

Then the program moved to Lavni (लावणी). Kartiki presented 'Kasa Kay Patil bara hai ka (कसं काय पाटील बरं हाय का)'. Curiously it was played on Tabla and Dhol instead of Dholki. Sawni then presented 'Wajle ki bara (वाजले की बारा)'. Audience needed no invitation to dance in the open space in front of stage.

Final segment of program was rhythmic songs and Koli geete in medley. They presented 'Hil Hil Pori hila (हिल हस पोरी हिला)'. Aniruddha missed the beat to start the song and purcussionists had to play again for him to pick the beat. This was followed by Ekveera aai tu dongrawari (एकवीरा आई तु डोंगरावरी). Sawani came down in the dancing audience to sing this song. Kartiki presented 'Chandana Chandana (चांदनं चांदनं)' and Aniruddha presented 'Navri natali (नवरी नटली)'. 

Grand finale of the program was Swatantryaweer Savarkar's 'Jayostute Jayostute (जयोस्तुते जयोस्तुते)' sung by all three. 

Bhushan Rao, a local talent, played professionally and matched others beat by beat. Other musicians were good and played aptly. All the singers also sung well.

Chinmay speaks correct Marathi fluently. He is smart, was wearing a stylish saffron kurta but the torn and patched up jeans struck a discordant note. On a number of occasions he prompted the audience to clap rather than allowing them to do it spontaneously. He came down into the audience several times and even danced with them displaying his humility. This was Chinmay's first time to anchor a program but he anchored with finesse.

Sound system created frequent humming noise that had to be quelled. There was echo in the sound system so words were not clear. Overall the sound system was a disappointment.

Garjate Marathi (Roaring Marathi) a very good title for a program that displays the variety, range and rich heritage of Marathi songs and music. From the name of program, I also expected that there will be a theme that shows the transformations of Marathi language or Marathi music. But there did not seem to be any theme. I also expected that there will be anecdotes demonstrating richness of Marathi. But it too wasn't there. A bit of effort on this was called for.

All in all a decent program.

Entertainment rating 8/10.
I have given one extra mark for successfully involving the audience.


Thursday, 2 February 2017

Nirvana 2017 - Zakir Hussain+6

Attended a concert titled 'Nirvana 2017'. A concert featuring Zakir Hussain, Chris Potter (Saxophone), Sanjay Divecha (Guitar), Gino Banks (Drums), Louis Banks (Keyboard / Piano), Dave Holland (Bass) and Shankar Mahadevan (Vocal) at Dubai duty free Tennis stadium, Dubai, on 27th Jan 2017 with Aditi, Mihika, Jayant, Sucheeta, Amit and Sameer. The theme of concert was Crosscurrents, where Jazz meets Indian Classical music. 

All the artists, except Shankar, started the concert. 1st presentation was a composition by Louis Banks called 'Dove'. Second presentation was also a composition by Louis Banks called 'Shadows'. Chris switched to Clarinet for this composition.  

Shankar then arrived on stage with a round of applause by audience. There were Sawal Jawab between Shankar (who sung Aalap) and Dave on bass. This was slow, delicate and melodious. To be savoured. 

Next item was 57th melakarta Raag Simhendramadhyamam from Carnatic music. He sung 'Rama Rama guna seema' originally composed by Swathi Thirunal Rama Varma. For this concert the Kriti was rearranged with harmony (which is not there in Indian classical music). Shankar used Sargam for the badhat. 

Then he switched to Hindustani semi classical Bhajan 'Ab Radhe rani de daro bansi mori' in Raag Brindavani. Tara Devi, elder sister of Sitara Devi taught it to Shankar. There were Sawal Jawab with Chris on Clarinet.

The trio of Zhakir, Chris (back to Sax) and Dave presented a composition of Chris titled  'Hope'. It was a beautiful piece. Tabla blended with Jazz so well that it did not appear to be fusion. 

Then all of them, except Shankar, presented a Ballad composed by Sanjay Divecha and titled 'Solace'. Shankar re-entered. He sung Sargam and all  of them played their respective instruments. 

'Finding the light' composed by Dave Holland was next. He played it himself with Zhakir. Solo Bass is a very different experience. Coupled with Tabla it's even better. 

Final piece of the concert was a medley titled 'Encounter'. During this when Shankar started 'Breathless' audience went ecstatic. He actually sung faster than the original, but is wasn't exactly breathless. Then there was Zhakir solo with tukdas, paltas, tihais and chakradars. Audience clapped with him. Finally all of them performed together for grand finale. This was very very satisfying. The concert was to end here. 

Organizers announced that San Francisco Jazz has awarded life time achievement award to Zhakirji and he is the first Indian recipient of this award. They also showed a short film on him, sent by his daughter. 

Zhakirji humbly accepted the applause and announced that concert will end. with live music and invited Shankar to do the honors. As soon as Shankar announced that this is dedicated to all mothers, audience knew that it was going to be 'Meri maa'. The song is so good that it became an instant hit. 

Each artist was as good as other. With seven artists, there is a possibility of one or more artists starving for time and space, but miraculously it did not happen today. Everyone got his due. 

Zhakir and Shankar need no introduction. 
Chris Potter was Tenor saxophonist of the year. Sanjay Divecha is Winner of Oscar for collaboration of best original score for movie '127 hours'. Gino Banks is Recognized by Rolling Stones as 'Upcoming drummer of the year'. Louis Banks  is considered Godfather of Indian Jazz. 

Vocal and Saxophone were the star if this concert. Every one performed well, Saxophone was the icing on the cake. 

Chris and Dave, the only non Indians, were wearing Indian kurta for this concert and did not appear in any discomfort. 

There was a problem in stage balance. Left side of stage was sparsely occupied and right was heavily occupied. Thus Louis Banks appeared to have been left alone to his devices. Moreover it was perplexing to notice that Louis' back was towards the audience. He should have been atleast perpendicular. Area of improvement. 

Every artist had a break during one composition or another, except Zhakirji. He played throughout the concert that lasted more than 2.5 hours. 

Every Zhakir Hussein concert I have attended, and that is atleast five, Mujib Dadarkar was in charge of sound. He was in charge of sound today as well. 

Numerous LEDs on the black background were irritating. Three screens were installed in the stadium but the screens did not show stage, only the names and logos of sponsors. Waste of resource. 



Entertainment rating 9.25/10.