Shreya Ghoshal

Mandar's concert report

Attended a concert of Shreya Ghoshal. Shreya was accompanied by male singer Kinjal Chatopadhyaya and supported by a number of musicians. Abhishek  (Keyboard), Prasanna (Flute), etc. The program was anchored by Sahil. This concert was organised by India Social and Cultural Center on 16th Nov 2018 at ISC rooftop. I attended the concert with Mane, Patil, Oak families, Priya, Santosh, Aditi and Mihika.

Concert started with Kinjal, who set the stage for Shreya's entry.  He sung three songs 'Tere mere sapne', 'O mere dilke chain' and 'Tuhi re'.

Shreya made her entry with a shimmering silver evening gown. She started with 'Kahate hai diwani Mastani to gayi' from film Bajirao Mastani. She has won Filmfare and many other awards for this song.  She followed it with 'Bahara bahara' from film I hate luv stories,  'Jadu hai nasha hai' and 'Tum mile dil khile'.

She then sung songs of Rahman 'Aja main Bahron mein' and 'Muze sans ayi'. Then they sung 'Manwa lage'  from film Happy New year, 'Main tenu samzawan ki', 'Shukran Allah' from film Kurbaan, 'Tere masta masta do nain' from Dabangg, 'Main wari jawan' and 'Dhire dhire' from movie Tango Charli. To appease majority local audience she also sung two Malayalam songs back to back. 

She then sung 'Rabta' from movie Agent Vinod followed by 'Pinga' from film Bajirao Mastani. Audience enjoyed this song very much. 'Barso re megha' and 'Ye ishq hai'. 'Nagare sang dhol baje' from film Ram Leela was the last song before she took a break. 

Kinjal filled the gap of Shreya"s absence by singing mukhdas of various songs like 'Aj janeki jid na karo', 'Ranjish hi sahi', 'Abhi na jao chodkar', 'Eshan tere hoga muzpar' and 'Kehna hai'.

Shreya reentered with a section dedicated to old songs. It was a medley of 'Chaudhvi ka chand', 'Wo sham kuch ajib thi', 'Kabhi kabhi', 'Aapki nazron ne samjha', 'Ab to hai tumse', 'Kya janu sajan', 'Aa Janejan', 'Piya tu ab to aaja' and 'Dum maro dum'. Speciality of this section was that she started every song unconventionally from antara, not mukhda. Shreya sung this section mostly on chords and audience sung with her. She then reluctantly moved to new songs of her own.

'Zubi dubi zubi dubi' from Three idiots, 'Karle maiden fateh' from Sanju, 'Uh lala' from film Dirty Picture, 'Radha teri chunri' from Student of the year, 'Chikni chameli' from Agneepath and 'Ghoomar' from Padmavat.

She then sung another Malayalam song in seven beats and turned back to Hindi with 'Teri meri meri teri prem kahani' of film Bodyguard. Then she moved back to regional with a Tamil song of Rahman and a Kannada song. 

In the last section she sung 'Tuzmein rab dikhta hai' from film Rab ne banadi jodi, 'Teri ore' from film Sing is king and then Bengali 'Ekla chalo re' of Rabindranath Tagore, 'Lagja gale', 'Sun raha hai' from Ashiqui 2 and concluded the concert with 'Mere dholna sun' from film Bhool Bhulaiya.

Shreya has a beautiful voice and She is an accomplished singer. Although she had the ipad on stand,  she hardly looked at it for lyrics,  she had them by heart. Even the non Hindi ones. Kinjal is also a very good singer and we will see more of him in future. 

Sahil, the anchor, tried to say a number of Shers, but many of them were poorly composed or not really rhyming. They sounded more Gadhe (गधे) than Sher (शेर).

Shreya made a faux pass in the beginning by thanking ISIS instead our ISC, but quickly rectified. She announced names of musicians but we were not able to pick all the names in the melee. Concert was supposed to start at 9 pm, but stated an hour late.

Lights on stage were overdone. Moreover, too many times harsh lights were thrown on audience, hurting eyes. It was irritating. Sound system was good but the audience at the very back complained that they could not hear clearly. 

Seating arrangement left a lot to be desired. We were seated half way down the seating area and the stage was at the same level as us,  so we were hardly able to see the stage relying on screens and ears. A graded arrangement is a must when the audience is more than thousand. 

All the songs were good and popular. Shreya is an excellent singer and musicians were good too. So the concert should have been wow! But somehow,  I felt that something was missing. Can't put a finger on it. Open air did not help either. 

Entertainment rating 7/10.

Swardeep sandhya (स्वरदीप संध्या)

Attended a concert titled "Swardeep sandhya (स्वरदीप संध्या)", a concert of Marathi songs. Vishwajeet Borwankar, Arohi Mhatre, Jeetendra Tupe were the singers and they were accompanied by Amit Gothivrekar (Keyboard), Sachin Bhangre (Side rhythm) and Ratnadeep Jamsandekar (Tabla, Dholki, Dholak and Dhol). The program was anchored by Amit Kakde. This concert was organised by Maharashtra mandal Abu Dhabi on 9th Nov 2018 at Abu Dhabi Islamic Cente. I attended the concert with Thangaokar, Mane, Patil, Sambhaji, Oak, Kamble families, Aditi and Mihika.

Concert started with Ganesh vandana, 'Sur niragas ho (सूर निरागस हो)' from Katyar kaljat ghusli by Jeetendra.

Arohi sung Ali mazya ghari hi Diwali (आली माझ्या घरी ही दिवाळी). Vishwajeet then presented Man mandira (मन मंदिरा) again from Katyar kaljat ghusli. He sung it in his style. Audience applauded and provided clap rhythm for this. Jeetendra sung a very famous song of Sudheer Phadke Toch chandrama nabhat (तोच चंद्रमा नभात). Arohi sung Zulvu nako hindola (झुलवू नको हिंदोळा) and followed it with Brahma Vishnu ani Maheshwar samori basle (ब्रह्मा विष्णू आणि महेश्वर) from film Amhi jato amuchya gava which transformed into Bhakti medley with Khel mandiyela (खेळ मांडीयेला), Kanada Raja pandharicha (कानडा राजा पंढरीचा), Abir gulal (अबीर गुलाल) and Zenda rowila (झेंडा रोविला).

Vishwajeet presented Baglyanchi malphule (बगळ्यांची माळफुले), originally sung by Vasantrao Deshpande, composed by Srinivas Khale and written by Va. Ra. Kant. Arohi then sung Suresh Bhat's gazal Tarun ahe ratra ajuni (तरुण आहे रात्र) composed by Pt. Hridaynath Mangeshkar. This sad song was an odd note in otherwise festive atmosphere. Although the song is excellent and Arohi sung well,  it could have been avoided. To celebrate the occasion of Bhaubij, Arohi presented Wedya bahinichi wedi hi maya (वेड्या बहिणीची वेडी ही माया) on demand.

Adiwasi geet section was the last section before interval. They presented three songs. Jambhul piklya zadakhali (जांभुळ पिकल्या झाडाखाली), Amhi thakara thakara (आम्ही ठाकरं ठाकरं), Lingobacha dongur (लिंगोबाचा डोंगुर). Percussionists got free rein in this section.

First song after interval was famous Lakh lakh chanderi (लखलख चंदेरी). This one was a low key affair. Mala wed lagle premache (मला वेड लागले प्रेमाचे) was next. One very old and one new song.

Concert then moved to masti mood with Ajay Atul section. Vishwajeet and Arohi presented famous song Jeev rangala (जीव रंगला) from film Jogwa. Ajay Atul got national award for this song. Arohi presented my favourite Gorya gorya galawari (गोऱ्या गोऱ्या गालावरी) from film Tuzya mazya sansarala ani kay hawe. This was probably the best song of the concert. Mauli mauli (माऊली माऊली) drew immense audience applause and audience co-sung the chorus. Attach baya ka bawarle (आत्ताच बया का बावरलं) was presented next.

Then they presented a unique song. Awdhoot Gupte's qawwali of Ganapati bappa in movie Morya. This is first ever Ganapati qawwali. Vishwajeet sung this qawwali. I had not heard this qawwali earlier. It was good.

Concert of Marathi songs can not be complete without Lawni. Lawni was imperative. Ratnadeep got his 5 minutes of fame in the opening Dholki piece. It was followed by percussion sawal jawab followed by immortal Tuzya usala lagal kolha (तुझ्या उसाला लागल कोल्हा). Four ladies and little girls from audience danced impromptu on this rhythmic lavni. This set in motion various dance performances by audience including yours truly.

It was gents' turn to display their dancing skills on song Navri natli (नयरी नटली). Ladies joined in too, then how can children remain behind?

This was followed by rapid fire Gondhalala ye (गोंधळाला ये). Theme song of movie Jogwa. Another song of Ekveera Devi. Baghtoy rikshawala (बघतो रिक्शावाला) and Mhawryacha laglay naad (म्हावऱ्याचा लागलाय नाद). Audience gave way to their natural instinct of dancing,  even if they did not know how to dance. It was an enjoyable moment.

Concert ended with the Marathi song that has become a national hit, Zing zing zingat.

Vishwajit is a good singer. The firat in his voice and his classical training is evidenced in his singing.

Jeetendra involved the audience by encouraging them to clap,  wave hands,  wave mobile torches etc. He also sung well.

Arohi started on very shaky ground. She appeared rusty and out of touch. I was worried, but she gradually caught up as the concert progressed.

Purcussionists and key board player provided the accompaniment aptly. Ratnadeep packed away Tabla at interval and played dhol and dholak mostly. Ajay Atul effect!

Amit Kakde did a decent job as anchor.

In general first half was dedicated to melody and second to fast and rhythmic songs that make you shake a leg.

Temperature in auditorium was chilly. Audience got first hand experience of what it would feel in a refrigerator.

All in all an enjoyable evening.

Entertainment rating 7.5/10.

Awaz ki duniya (आवाज की दुनिया)

Attended a concert titled "Awaz ki duniya (आवाज की दुनिया)", written,  produced and directed by Ashok Hande and performed  by his troupe of artists. This concert was organised by Maharashtra mandal Abu Dhabi on 19th Oct 2018 at Abu Dhabi Islamic Cente. I attended the concert with Thangaokar, Mane, Patil, Sambhaji, Oak, Kamble families, Aditi and Mihika.

 

Ashok Hande, Pramod Sohoni, Sachin Mule, Smita Joshi, Rasika Joshi & Preethi Warrier were the singers. Satyajit Prabhu & Karan Bawre on keyboard, Avinash Mayekar on Tabla, Bhavesh Patil & Nana Salunkhe on side rhythm, Shashank Hadkar on Octopad formed the music ensemble. Mahesh Khanolkar was on mandolin, violin & Swaralin. He was also the music arranger.

 

This was a program of Hindi film songs starting from old ones and gradually moving to the new and newer ones. Theme of the program at the start was rural life & celebration and then moved to independence,  advent of radio and current songs. 

 

Concert started with Ae malik tere bande hum (ऐ मालिक तेरे बंद हम) followed by Jago Mohan pyare (जागो मोहन प्यारे), Mousam bita jaye (मौसम बीता जाए), Barkha dulhaniya (बरखा दुल्हनीया), Sawan ka mahina (सावन का महिना) - audience applauded as soon as this song started. Then came Hariyala sawan dhol bajata aya (हरियाला सावन ढोल बजाता आया), Dukh bhare din beetere bhaiya (दुख भरे दिन बीतेरे भैया), Julmi sang ankh ladi (जुल्मी संग आँख लडी), Nain lad gaye hai (नैन लड गए है) and Ude jab jab zulfe (उडे जब जब जुल्फें). Audience demanded once more for this song and the request was duly fulfilled.

 

They then presented O gadiwale gadi (ओ गाडीवाले गाडी), Zumka gira re (झुमका गिरा रे), Pan khae saiyan hamaro (पान खाए सैंयाँ हमारो), Chalat musafir (चालत मुसाफिर), Sakhi saiyan to khubhi kamat hai (सखी सैंया तो खूबही कामात है), Nazar lagi Raja (नजर लागी राजा) - don't know why they did not use dholki in this song and used Tabla instead. Salaam-e-ishk (सलाम-ए-इश्क) & Inhi logon ne (इन्ही लोगोंने).

 

Then there was a medley of Holi songs. Khelenge hum holi (खेलेंगे हम होली), Rang barse (रंग बरसे), Holi khele raghubira (होली खेले रघुबीरा), Ayi holi ayi re (आई होली आई रे), Are jare hat natkhat (अरे जारे हट नटखट). Artists gave themselves a once more on the dance for this song. The medley concluded with Mera rangde basanti chola (मेरा रंगदे बसंती चोला).

 

This song served as bridge between holi and desh bhakti. So the next two songs were Vande matarm(वंदे मातरम्) - the fast tune and Ae mere watan ke logon (ऐ मेरे वतनके  लोगों). The singer started in very high scale but corrected immediately. This was interval @ 1947.

 

First song post interval was Kuhu kuhu bole (कुहू कुहू बोले) followed by Laga chunari mein daag (लागा चुनरी में दाग). As expected tarana got a once more and the request was happily fulfilled. He sung Tarana well, but I felt the energy level was bit low. 

 

While emphasizing the importance of radio in propagating music they presented medley of mukhdas of Main banki chidiya (मैं बनकी चिडीया), Babul mora (बाबुल मोरा), Awaz de kahan hai (आवाज दे कहाँ है), Dil jalta hai (दिल जलता है), Aega ane wala (आएगा आने वाला), Aa chlke tuze (आ चलके तुझे), Yad kiya dilne (याद किया दिलने) and even life bouy jingle.

 

This was followed by Jo wada kiya wo (जो वादा किया वो), Pyar hua ikrar hua (प्यार हुआ, इकरार हुआ), Dil-e-nadan (दिल-ए-नादाँ), most famous Qawwali Na to karwan ki (ना कारवाँ की),  Damadam masta kalandar (दमादम मस्त कलंदर), Lambi judai (लंबी जुदाई), Dariya kinare ek bunglow (दरिया किनारे एक बंगलो), Main to bhool chali (मैं तो भूल चली), Muttukkodi kawwadi hada (मुत्तुकोडी कव्वाडी हडा) and Sun mere bandhu re (सुन मेरे बंधु रे). The singer imitated the original voice of SD ditto. 

 

Comparison of old and new was then presented in another medley. Hawa mein udta jaye (हवा में उडता जाए),  Sexy sexy sexy muze log bole (सेक्सी सेक्सी सेक्सी मुझे लोग बोले), Ruk ja o jane wali (रुकजा ओ जाने वाली), Piya tu ab to aja ( पीया तू अब तो आजा) - this one was very good. Once more was inevitable. Audience danced without inhibition on this song. Medley continued with Yaylare ladki mast mast tu (यायलारे लडकी मस्त मस्त तू), Aji ise pyar kahenge (आजी इसे प्यार कहेंगे), Najrein mili mere dhadka (नजरें मिली दिल धडका), Ichak dana (ईचक दाना), Amma dekh tera munda bigda jaye (आम्मा देख तेरा मुंडा बिगडा जाए) and Dum maro dum (दम मारो दम).

 

They then presented top ten medley. Manwa lage lagere bawre (मानवा लागे लागेरे बाँवरे), Ghoomar (घूमर), Nirma jingle, Mere rashke qamar (मेरे रश्के कमर) - this song was not part of the program it was introduced a few hours before the program on public demand and singer prepared and sung well within short time, Chalao na nainon se ban re (चलाओ ना नैनोंसे बाण रे),  Leila main Laila (लैला मै लैला) - a local artist danced on this song, Mere desh ki dharti (मेरे देशकी धरती), Ab tumhare hawale watan sathiyon (अब तुम्हारे हवाले वतन साथियों) and Jinhe naz hai Hind par wo kahan hai (जिन्हे नाज है हिंदपर वो कहाँ है).

 

Concert ended with last section of immortal Mile sur mera tumhara (मिले सुर मेरा तुम्हारा). I thought they ought to have sung the full song. That would have made a lasting impact. 

 

The program was conceptualized very well.  There was an emphasis on dhamal enjoyment. The group presented a lot of medley's. Pure full songs were few. Audience was bombarded with one song after another. They did not give any time for audience to think or get bored. Audience also applauded almost every song and danced when the rhythm allowed and lost track of time. 

 

They made good use of screen, although the opportunities were limited. Use of screen, especially, for the song in bullock cart was fantastic. 

 

They made very effective use of chorus. A large number of songs had chorus provided by other singers and it was very good, enriching the experience.

 

There were a few dances by local artists on selected songs.  Dancers and singers had one practice season before the concert. 

 

Although the sound system was good, acoustics of the auditorium were not very good.

 

All the musicians wore plain whites and singers wore colourful dresses. Ashok changed dresses more than 20 times. Mahesh Khanolkar played three instruments. It was first time I saw Swarlin being played. They say that only 2-3 people can play this instrument in India. It is a rare instrument. 

All male singers were above middle age. They also indulged in a bit of acting and antics. Words of Pramod were obfuscated. Was it the singer or Mic? Preethi was the best singer of night. She was versatile, sung with smiley face and enjoyed her performance resulting in audience enjoying it even more. 

 

Ashok won the hearts by acknowledging contribution of and inviting on stage his artists, local artists, MMAD members etc. However, he did not forget to mention that they have compromised on lighting, sound system and number of artists to make this program happen. 

 

Entertainment rating 9/10.

 

 

Gaanaamrutham

Attended a concert titled "Gaanaamrutham", performed by local Abu Dhabi artists. This concert was organised by Ragamalika as part of 13th Annual festival 'Swara Raga Sudha 2018' on 4th May 2018 at Sudanese club Abu Dhabi. I attended the concert with Jayant. 

The singers were Raga Mayuri, Shalini Kumar, Poornima Iyetal, Radhika Duggirala, Urmila Santosh, Mruduvani, Divya, Sharanya, Subha Harish. Shriram Sundaram on Mridangam and Sujith Warrier on keyboard accompanied the ladies. 

They presented following songs:

1. 'Jaya jaya swamin' in Raag Nattai and Aadi tal composed by Narayana Theerthar in Sanskrit. 

2.  'Devi Neeye Thunai' in Raag Keeravani and Aadi tal composed by Papanasanm Sivan in Tamil.

3. Kriti 'Ayye methakadinam' in Ragamalika and Aadi taal in Tamil.

4. 'Rakshchu rakshimchu' in Raag Shanmukhapriya and Aadi taal in Telgu.

5. Annammacharya krithi 'Meluko sringara raya' in Malayamarutam in Telgu.

6. Purandaradasa's 'Nara janma badhaga' in Raag Kapi and Aadi taal in Kannada.

7.  Tillana in Raag Hamsanandi and Aadi taal.

8. Purandaradasa's 'Hanumantha deva' in Raag Poorvikalyani in Aadi taal in Kannada.

The concert was supposed to have ended there. But upon request by the organizers, the group sang famous and my favourite 'Bhagyada lakshmi' in Raag Madhyamavati and Aadi taal to conclude the concert. 

If one reads through carefully,  the common theme of the concert was Aadi taal (Aadi talam), which is the most common taal and has Trital as it's twin in Hindustani music. 

All the ladies sang all the songs in chorus. They created good sound waves and positive energy. It was very pleasing to ears and created a divine atmosphere.

These ladies are presenting Gaanaamrutham for last 13 years in the same festival. It's a great achievement and deserves applause. One or two of them were good enough to be given a chance to perform solo. 

It goes without saying that Abu Dhabi has got talent.  

Entertainment rating 8/10 

Shashank Subramanyam (Flute)

Attended flute recital of Kalaimamani Sri. Shashank Subramanyam (Flute). He was accompanied by H. N. Bhaskar (Violin), Jayachandra Rao (Mridangam) and Ojas Adhiya (Tabla). This concert was organised by Ragamalika as part of 13th Annual festival 'Swara Raga Sudha 2018' on 3rd May 2018 at Sudanese club Abu Dhabi. I attended the concert with Jayant. 

Shashankji asked the audience what they would like to hear. Someone from first row suggested (I could not hear) and he started the concert. Concert started with Flute and Violin. Mridangam joined in soon after and shortly Tabla followed suit. 

Second composition was a known composition. Flute and Violin played beautiful solo pieces at the start. Tabla and flute concluded this composition. 

Now it was violin's turn. Bhaskar played with Mridangam. Flute and Tabla then joined in. Then they played in alternating combinations of  Flute-Tabla and Violin-Mridangam. Violinist played very well. Shashankji played very well too. I especially liked when he played alternate notes in komal and teevra octaves seamlessly. It appeared as if two flute players were playing. 

He then gave audience a choice between Raag Nasikabhushani and Dharmavati. Audience chose 70th Melkarta raag  over 59th. So it was Nasikabhushani. He played some very delicate and stable notes and received audience applause. He then played  some solo very fine, fluid and fast as well as slow flute. It was followed with Violin solo. Flute then took over again. There was neither Mridangam nor Tabla for this Raag.

He then presented Tyagaraja composition 'Mara vairi ramani' again in Raag Nasikabhushani.  It has two variations. One in Adi taal and another in Rupak. He chose Rupak taal. Here Violin-Tabla and Flute- Mridangam played in combinations. 

He then presented a short composition in Raag Dhenuka. It wad a beautiful composition and sounded very similar to Bhairavi.

He then presented Raag Mohanam. He played Ragam Tanam Pallavi (RTP). He changed his Flute to a longer one that provided richer tone initially.  This Raag sounded like Bhoop Raag.

He then made a fabulous demonstration. First he played in two octaves alternately and then he played in two octaves simultaneously. Amazing! Don't know how! Tabla and Mridangam joined in for Pallavi 'Mana mohana'. Ojas got some freedom to play during this composition. The crescendo was so good that they got standing ovation. 

It was followed by 'Tani avartanam',  a section designed for the Purcussionists to show their prowess. This time, though it was a Carnatic concert,  it was a rare occasion to watch Mridangam Vs Tabla. Both of them are masters and displayed what they can do given freedom. Paltas of Ojas were very good today. One of them was simply awesome. He won the audience with this brief opportunity.  Both off them merged in Mohra and played Korvai together. Audience clapped with the Percussionists. Rani avartanam came towards the end of concert. 

There was a short break to felicitate the artists. The power went off during felicitation. So the break extended but audience remained. There was dinner after the concert,  which I didn't partake,  as incentive. :) This break was uncalled for and broke the flow of the concert. 

Concert ended with three short compositions played by all the artists together. 

I have heard Shashank earlier in duet concert with Kushal Das. This time it was solo. He is an amazing flutist. He flew from Los Angeles for this concert and was flying back after. 

Violinist sass good and applauded his cci artists. Rap and Ojas were also excellent. 

Every year thus festival is house full. Today the hall was not full. It may be because of a combination of working day and current market situation. The hall has good acoustics.

The stage had a backdrop of a temple. This  is the image of the temple that will be  built in Abu Dhabi and will open in 2020.

A good concert. 

Entertainment rating 8.75/10 

'Tarangini (तरंगिणी)

Attended an instrumental fusion concert titled 'Tarangini (तरंगिणी)' by band 'Shanti fusion (शांती फ्यूजन)' anchored by Dr. Girish Oak (गिरिश ओक) and led by Pt. Yograj (पं. योगराज), disciple of Utd. Shahid Parvez. Pt. Yograj (Sitar), Sargei Gudinho (Base Guitar), Surjit Thali (Tabla), Vishnu Shirodkar (Keyboard) and Santan Carvalho (Octopad ) were the performers. This concert was organised by Maharashtra Mandal Abu Dhabi as part of the Annual General Gathering on 20th April 2018 at Hotel intercontinental, Abu Dhabi. I attended the concert with Thangaokar family, Oka family, Mane family, Patil family and Chitrao family.

Concert started with a small piece in Raag Yaman kalyan (यमन कल्याण). Dr. Girish Oak explained his role in the concert in an interesting way. He said he was the khboos that is needed to eat hummos. The Arabic connection.

The band presented a composition in Raag Jhinjhoti (झिंझोटी). 'Norwegian wood' by George Harrison of Beatles was based on same Raag. They then presented another composition in same Raag and ended with song 'Koi humdrum na raha (कोई हमदम ना रहा)'. Anchor then presented a famous poem of Mangesh Padgaokar 'Tumche Kay gele (तुमचं काय गेलं)'

They next presented a composition in Raag Ahir Bhirav (अहिर भैरव). It had some similarity with Arabic folk and keyboard was the predominant instrument. They continued to song 'Ye sham mastani (ये शाम मस्तानी)' from film Kati Patang. Anchor presented a  week known poem of Kusumagraj 'Prem kar bhilla sarkhe (प्रेम कर भिल्ला सारखं)'

Next composition was based on Raag Hamsadhwani (हंसध्वनी) and continued into song 'Ja tose nahi bolun sanwariya (जा तोसे नाही बोलूं सावरीया). Girishji then presented famous poem of Shankar Vaidya 'Chatri (छत्री)'. 

The band then presented Marathi song 'Konacya khandyawar (कोणाच्या खांद्यावर)' based on Raag Natbhairav (नट भैरव). Girishji then presented a Marathi gazal of Vinda Karandikar titled 'Sathi (साठी)'.

They then presented A.R. Rahman composition 'Tu hi re (तू ही रे)'. Pt. Yograj played this excellent composition, almost without accompaniment, equally well. Wow!  This was the best piece of the concert. Audience demanded 'Once more' but the wish was not granted. Girishji then presented a poem of Mangesh Padgaokar 'Mi tila wicharle (मी तिला विचारलं)'.

They presented another composition on Raag Alhaiya Bilawal (अलहैया बिलावल) and continued into song 'Hum the jinke sahare (हम थे जिनके सहारे)'. Girishji presented his own poem in muktachand 'Pananche prakar (पानांचे प्रकार)'. This was a very good poem and enumerated so many types of pan (leaf) in staccato burst that audience enjoyed it and applauded him. Infact his poem drew more applause than that of great poets. 

They then presented medley in Raag Pilu (पिलू), which is favoured by cinema music, of 'Suramayee akhiyon mein (सूरमयी अखियों में)' and 'Ae jindagi gale lagale (ऐ जिंदगी गले लगाले)'.

Concert ended with a famous composition  based on Raag Tilak kamod (तिलक कमोद) that i have heard before. 

I liked the format of the concert. A Raag based composition followed by a film song based on same Raag so that general audience can connect and identify with it. However, they did not announce the name of all Raags.

Dr. Girish Oak was sort of an odd man out in a instrumental fusion concert. However, he managed his role decently with the help of his wit, poems, presence of mind and his star value. 

Pt. Yograj and Vishnu were outstanding. I would like to listen Yograj play solo classical. Other musicians supported them ably. The coordination between them was noteworthy. 

Audience, however, was not attentive. Some were interested and listened carefully. Others were in festive mood and were chatting in the back rows.  Children were running around. Girishji subtly expressed his displeasure but no avail. If the audience had been keen, out would have turned out to be much more enjoyable. 

A good concert in a wrong setting.

Entertainment rating 8/10 

Kadri Gopalnath (Saxophone)

Attended a concert titled 'Grand saxophone concert' by Dr. Kadri Gopalnath (Saxophone) accompanied by V.V. Ravi (Violin), K.M.S. Mani (Mridangam), Rajendra Nakod (Tabla) & Venkatachalam, a disciple of Kadri Gopalnath on Talam on 6th April 2018. This concert was organised by Consulate general of India, Dubai in association with Indian fine arts, Dubai as part of 'India @ 70'. The concert was in the Indian Consulate auditorium, Dubai & I attended with Jayant & Sameer.

Concert started with a composition of Papanasanam Sivan in raag Tilang (तिलंग). I think it was Sri Ganesh charanam in Adi taal. He then presented a kriti of Tyagaraja. I missed the name. Next was a composition in Raag Hamsadhwani in Rupak taal. Was it Pavanaguru?

He then started next composition without announcing it. Nevertheless, it was good. I think he said it was Raag Senavati. He then played a composition in Raag Dhenuka.

Composition of Tyagaraja in raag that I could not get was the next presentation. Was it Karaharpriya? V.V. Ravi then played a solo piece without accompaniment. It was good. 

This was followed by light music. Audience welcomed it with rhythmic clapping. This section also contained Sawal-Jawab. Tabalji new exactly what Kadriji will play note by note and played Tabla beat-by-note. This is possible only by long association. This was followed by Mridangam solo and Tabla solo alternatively followed by Sawal-Jawab between them. Tabaji played very good relas. Percussionist enthralled the audience with their skills in this section. 

Kadriji then presented a composition of Raag Ahir Bhairav. It was followed by another composition, the name and Raag  was again lost.  It sounded like raag Pilu. It was followed by another composition. He then played a movie song and another composition.

Concert ended with my favourite Bhairavi and to to it up famous and another favorite of mine 'Bhagyada Lakshmi'. Needless to say there was a long standing ovation.

Kadriji plays every note very clearly but does not speak clearly. He mumbles. So it was difficult for someone like me, who does not know Carnatic music and raags, to catch and understand words. So if I have written name of some raag wrongly, kindly excuse.

Tabla and Mridangam accompaniment (together) is not very common in Carnatic music concerts.  Here we had that combination. The effect was excellent. V.V. Ravi played very well and supported the main instrument aptly. Kadriji plays very well, we all know it. To see him play was an opportunity. Concert lasted more than two hours. 

Credit to consulate for starting the  program at 7.30 sharp. Although consulate has a good auditorium, the seats are not fixed, chairs were placed. It's not a  sloping arrangement, so people at the back could not see the artists seated on stage clearly. It is not a wonder that there was a full house. Additional chairs were placed and yet some were standing. These are real rasiks. Attendance was more than 375.

Sound system and acoustics of the auditorium were excellent. Volume of Tabla should have been a bit low, at times it masked finer notes of main instrument.

Saxophone and Violin Are western instruments now well entrenched in Indian classical music. Idea of playing Carnatic music on Saxophone is exotic. Watching such a concert live is rare. Watching this living legend perform is bliss. We enjoyed it thoroughly. It was worth the 300 km travel. 

Entertainment rating 9/10 

Amjad Ali Khan (Sarod)

Attended a concert of titled 'The Sarod  master: Amjad Ali Khan'. Ustad Amjad Ali Khan (Sarod) was accompanied by Vijay Ghate (Tabla) and Sridhar Parthasarthy (Mridangam) on 25th March 2018 in Emirates Palace auditorium. This concert was part of Abu Dhabi festival 2018 presented and organized by ADMAF. I attended the concert with Jayant.

A beacon of cross cultural understanding, Abu Dhabi festival 2018 unites, empowers and inspires humanity. Each year Abu Dhabi festival brings audiences together to share unique experiences that testify to our shared humanity and deep bonds we share.

The word Sarod comes from Persian word Sarood which means melody. Sarod is a present day modification (made by Ustadji's ancestor) of the Rabab, a folk instrument from central Asia. The Sarod has a steel fingerboard and a belly covered with goat skin. Over this are placed 19 strings, 11 out of them are not played directly. The body is made of teak.

Amjad Ali Khan is sixth generation musician from Senia Bangash gharana. His sons continue the tradition. 

Concert started with a melody as homage and tribute to Sheikh Zayed, founding father of U.A.E. it was a composition played in Arab style and lasted for about 7 minutes.

He then presented Raag Durga (दुर्गा) in 16 beats. It is a very famous composition and lasted another 7 minutes.

Amir Khusru, 13th century Sufi poet, created 'Tarana (तराना)' a form of singing that does not require language or words. Ustadji presented two Taranas. First one in Raag Telang (तेलंग) in 9 1/2 beats. Second was in Raag Bahar (बहार) in 16 beats.

He then played a composition in Raag Darbari (दरबारी) in tritaal. It was followed by a folk based composition of Rabindranath Tagore, the very famous, 'Ekla chalo re (एकला चालो रे)'.

 He then played Melody in Raag Charukeshi (चारूकेशी). It comes from Carnatic music. It had Jugalbandi of Tabla and Mridangam. It also included Sawal-Jawab. Both of them displayed fine percussion. Parthasarathy was too good. Concert ended with a three way Jugalbandi and three way Sawal-Jawab.

Ustadji thanked Abu Dhabi government for agreeing to Prime Minister Narendra Modi's request to build a temple in Abu Dhabi.

Concert started 40 minutes late. It was a short concert that lasted about one hour without a break. 

Emirates Palace auditorium is a beautiful and spacious auditorium that seats around 800 to 900. It had excellent acoustics. However, volume of Purcussionists was on lower side. Photography was not allowed in the auditorium, so no photos of the program.

The concert was probably designed for non Indian audience (Although most of the audience was Indian) with short  compositions rather than traditional Bada Khyal and Chota Khyal. The build up,  the development,  the peeling of layers of Raag and it's rendition, aalap, jod, jhala was missing. 

So although it was a good performance, I did not feel content at the end of concert.

Entertainment rating 6.5/10.

Sukhan (सुख़न)

Attended a concert of titled 'Sukhan (सुख़न)'. Jaydeep Vaidya, Mukta Joshi, Abhijit Dhere (Vocals), Ketan Pawar (Tabla), Mandar Bagade (Dholak & Sarangi), Devendra Bhome (Harmonium), Apoorva Petkar (Harmonium and Santoor) Nachiket Deosthali and Om Bhutkar (Anchoring and Shero-Shayri). The concert was organized by  Maharashtra Mandal Abu Dhabi and ISC at ISC, Abu Dhabi on 1st Mar 2018. I attended the concert with Aditi, Mihika, Sucheeta, Jayant, Prakash, Swati, Vijay, Jyoti, Sameer, Rucha and Pooja.

It was a program that can be termed as a melange of Urdu Shero-Shayri, Stories, Poetry, Gazal, Najm and Hindustani music.

Concert started with song 'O husna (ओ हुस्ना)' that explores similarities between Pakistan and Hindustaan. 

Om Bhutkar and Nachiket Deosthali then presented some Sher (शेर) and narrated an interesting story of a Deemak (दीमक) and it's commentary on Urdu Shayari written by Mujtaba Hussain. Nachiket narrated a good Hindi Gazal.

Mukta presented 'Aapki yaad aati rahi raatbhar (आपकी याद आती रही रातभर )'. Om and Nachiket presented more Shero-Shayri.

Jaydeep and Abhijit presented a qawwali 'Hai kahanka irada (है कहाॅका ईरादा)' and 'Janejan dil dukhana buri baat hai (जानेजां दिल दुखांना बुरी बात है). That was interval. 

Mukta started post interval session with Abeeda Parveen's very famous 'Chhap Tilak (छाप तिलक)'. It's not an easy song. Her's was a softer version as compared to Abeeda.

Jaydip and Om then presented 'Sare jahan se accha' in an interesting confluence of prose and song. Om and Nachiket engaged audience in more Shayri. Nachiket then sung a song with only tanpura to accompany. 

Jaydeep presented Sargam followed by 'Raat bhi neend bhi (रात भी निंदा भी)' with only tanpura to accompany. Om narrated Magloob Poonawala's gazal. Nachiket presented Jan Nisar Akhtar's gazal 'In jakhmonse sharmaye Kya (इन जख्मोंसे शरमाए क्या)' followed by his Nazm 'Dhundle saye (धुंदले साएॅ)' presented by Om.

Program ended with a qawwali 'Sadgiko hamari jara dekhiye (सादगीको हमारी जरा देखिए)' by Abhijit and supported by other two singers. There was a very long applause that did not die easily as well as standing ovation at the end. 

They presented compositions of Nida Fazli, Allama Iqbal, Amir Khusru, Faiz Ahmed Faiz, Mirza Galib, Sahir Ludhianvi, Javed Akhtar, Magloob Poonawala etc.

Om and Nachiket's passion for Shayri was evident and they did a good job of holding the program together. Their diction was very good. It was also Om's 27th birthday. 

It was first time I saw an artist (Mandar) playing a string instrument and percussion instrument in a concert. He was very good. 

Stage and seating arrangement was good with anchors in center, singers on either side, Purcussionists behind and Harmonium wallas elevated in two corners. However, elevation of Purcussionists should have been increased as most of the time they were obscured by the artists in front. 

Sound system was flawless. Lighting was mostly realized with focus or spot lighting. Entire stage was lit for very limited time. 

There was a melancholy of regressing Urdu in India in this program and also its celebration. It reminded me a statement made by Aatish Taseer in one of his book where he argues that with partition, India handed over Urdu to Pakistan whereas more people spoke Urdu in India than Pakistan. 

It was a very off the track program. It not only demonstrated the various aspects of Urdu but also was a step in preserving and revitalizing the receding language. The program has created it's own niche. Artists deserve an applause for the effort. 

Entertainment rating 8.5/10.

The magic of fusion - Vikku Vinayakram

Attended a concert of titled 'The magic of fusion'. Team Saptakshara was lead by Vikku Vinayakram (Ghatam), U. Rajesh (Mendolin) and Selvaganesh Vinayakram (Kanjira / Drums). They were accompanied by N. Ramakrishna (Mridangam), Umashankar Vinayakram (Ghatam), Mahesh Vinayakram (Vocal), Pravin Narayanaswami (Tabla), A. Ganeshan (Morsing), N. Rajaraman (Gethu vadyam) and Swaminathan Selvaganesh (Kanjira). The team had three generations of Vinayakram family. 

The concert was organized by Asthika Samaj events at ISC, Abu Dhabi on 8th Feb 2018. I attended the concert with Jayant. The concert was publicized as once in a life time experience. 

An AV, a song (Guruvandana) on U. Srinivas, the Mandolin maestro, was played before the concert started. Vikkumama (75) received a warm standing ovation when he made an appearance on stage. 

Rajesh, Umashankar, Pravin and Ramakrishnan started the concert with Ganapati prayer 'Vatapi Ganapati (वातापी गणपती)' in Raag Hamsadhwani (हंसध्वनी).  I have heard this song many times. This was a different rendition. 

Selvaganesh and Mahesh joined in for a song sung by Mahesh. Since I don't understand the language, the words were lost on me. 

'Love within' composed by U. Srinivas was the next peshkash. Sawal-Jawab in this section were very good. Ramakrishnan then played solo. Umashankar then attached pickup mic to a stack of three paper cups and played on them with Selvaganesh. He then continued with Ghatam solo. This Ghatam performance sounded very sweet. He even played Ghatam from inside. Now it was Pravin's turn to play solo.  He played a number of Tukdas. It is not easy to play with stalwarts but he did well and created a small niche for himself. 

This was interval. Audience was getting restless as the main attraction was still missing. 

Vikkumama, Selvaganesh, Ganeshan, Rajaraman and Swaminathan started after interval. Vikkumama played with four Ghatams. It was like Ghatam tarang. They played 'Shiv Tandav (शिव तांडव)'.

Selvaganesh then demonstrated language of rhythm. He involved audience in the game of rhythm and made his point. He and his son presented vocal syllable beat. Ganeshan played Morsing solo beautifully. I did not know that so many sounds can come out of Morsing. Rajaraman then played Ghetu vadyam (I hope i have got the spelling right) solo. This curious instrument looks like a Tanpura, but is kept horizontal and played with sticks like Santoor. There are only two musicians in India who have kept this tradition alive.

Vikkumama them played Ghatam tarang. His dexterity, variations and demonstration of finer nuances won the audience. He made audience clap to the rhythm. Audience got so immersed that after one point of time there was no need to guide them. The claps came in rhythm volunterely. He got another standing ovation. 

Same ensemble then played another piece followed by solo Kanjira of Swaminathan followed by Selvaganesh solo. Selvaganesh then played sound of train in normal coach, in AC coach, on bridge, in a tunnel etc. on Kanjira.

All the artists who went away after interval, returned on the stage for final composition. It was a composition in Aaditaal (आदी ताल) and Raag Sindhubhairavi (सिंधू भैरवी). Although this was also good, it did not reach the peak. 

This ensemble was a family affair. Except Rajesh and Pravin all others were from the same family. What a talented family!

It soared as of these were two different concerts. One before interval and one after with Selvaganesh being the common thread. Thus it did not appear homogeneous. 

It was an event where entry was only by invitation. This ensured that only the really interested were present. The auditorium has a capacity of 1000, but it was only half filled. 

Organizers had announced that concert will start at 7 pm sharp. But it started 45 minutes late. Was it because of lack of audience (working day) or something else?

Once during the first half of concert, the microphone emitted a shrill noise. Rajesh, who also anchored the first half, showed presence of mind by taking the opportunity to introduce the sound engineer and thanking him for reminding. Vikkumama's ear piece kept troubling him in the second half that was anchored by Selvaganesh.

Umashankar's hilarious moves, Rajesh's presence of mind, conductor Selvaganesh, legend Vikku, rhythmic clapping of audience & very good music by all the players. These were the highlights of the show. 

It was a good concert. It was a special occasion to watch the legend Vikku Vinayakram. But I left with a feeling that there was not enough of Vikkumama.

Thanks to Asthika Samaj for bringing a rare program to Abu Dhabi. It gave me a chance to watch Vikku Vinayakram live.

Entertainment rating 8.5/10.

A. R. Rahman

Attended a concert of A. R. Rahman titled 'The journey, celebrating music'. 

Singers of the concert were Neeti Mohan, Jonita Gandhi, Harshdeep Kaur, Javed Ali, Arman Malik, Hari Charan & Benny Dayal. Accompanying Artists were  Sanket Naik (Tabla), Elin Sandberg (Base guitar), Ranjit Barot ( Drums), Keba (Acoustic Guitar), Asad Khan (Sitar), Gulraj (Keyboard) etc. The concert took place at Dubai Parks on 26th Jan 2018. I attended the concert with Aditi, Mihika, Ravi, Akshata, Pooja, Sameer, Rucha, Prakash, Swati Gauri, Gargi, Priya, Santosh, Vijay, Jyoti, Pratyush, Sucheeta and Jayant.

Concert started with a grand instrumental medley of all his famous songs. First song of the concert was 'Oh nadan parinde ghar aa ja (ओ नादान परिंदे घर आजा)' from film Rock Star. Ranjit's drums were fabulous.  It was followed by 'Mukkala mukabla Laila (मुकाला मुकाबला लैला)'. Neeti Mohan joined Rahman for this song. Neeti, in a stunning red evening gown, then presented 'Chandralekha (चंद्रलेखा)' from film Thiruda Thiruda. I found this one more refined than Anupama's original. ARR then played piano and Jonita Gandhi, in shining blue flowing top and black slacks, sung 'Dil hai chhotasa (दिल है छोटासा)' from film Roja with Neeti.

Rahman then sung 'Dilse re (दिलसे रे)'. He was accompanied by Sitar for this song. This was followed by 'Sathiya (साथिया)'. Hari Charan, in black shirt, white jacket white black floral design,  joined him for the song. Neeti sung her own song  'Jiya jiyare jiyare (जीया जीयारे जीयारे )'. Benny Dayal, in a white shirt, black hat and huge shades, then sung medley 'Kaise muze tum mil gaye (कैसे मुझे तुम मिल गए)' and 'Tuhi meri dost hai (तुही मेरी दोस्त है)'. 

Jonita sung 'Gar tum sath ho (गर तुम साथ हो)'. Rahman then presented 'Inna sona kyun (इन्ना सोणा क्यूं)'. Arman Malik, in black jacket, sung 'Tuhi tu (तुही तु)' from film Dilse. A belly dancer graced the stage with her sensuous dance moves. It was followed by ARR and Jonita's 'Tere bina (तेरे बिना)'. Arman, in stylish red sweat shirt presented medley of 'Matargashti (मटरगश्ती)' and 'Masakkali (मसक्कली)'. Arman and Jonita then sung 'Tuhi re, Tuhi re (तुहीरे, तुहीरे)' from movie 2.0. I heard this song for the first time. 

He asked if audience wants to hear a Malayalam song? Some said yes, some no.  It was presented nevertheless. The song was 'Padakali' from the film Yodha. Benny and Hari sung this duel song originally sung by Sreekumar and Yesudas. Although I did not understand the words, it was very enjoyable and audience loved it. It was the highlight of the concert.

Neeti presented 'Maiya maiya (माया मैया)' from film Guru. Sitariya  then played the theme music of film Slumdog millionaire. A medley titled 'Time machine' was presented. It consisted a mukhda of 'Kehna hi kya', 'Pyar ye jane kaisa hai', 'Kismat se tum', 'Tu bin bataye', 'O bhanware', 'Ye hasin wadiyan', 'Kehne ko jashn-e-bahara', 'Chanda re Chanda re', 'Saans me teri', 'O re chore', 'Ae ajnabi', 'Jiya jale jaan jale', 'Awara bhanware', 'Ghanana ghanan ghan', 'Mitwa sun mitwa', 'Rang de', each. There was a drums jugalbandi in this medley. 

Harshdeep Kaur presented 'Ik omkar', a prayer from Rang de Basanti. It was followed by Qawwali medley. ARR presented 'Phool Khile bagiyan mein (फूल खिले बगियनमें) of Amir Khusru followed by Javed Ali's 'Maula maula (मौला मौला)' and 'Kun faya kun (कुन फाया कुन)'.  Then they presented 'Kwaja mere khwaja (ख्वाजा मेरे ख्वाजा)'. Although this section was good, the tempo of the program was lost. Probably it's position in program was wrong. They should have started the program with this. 

Harshdeep Kaur presented 'Tinga linga linga (टिंग लिंग लिंग)'. Rahman  then presented 'Patakha guddi (पटाखा गुड्डी). 'Tanha tanha (तनहा तनहा) from film Rangeela was presented by Jonita, now in red evening dress, next. 

Neeti, now in black attire, presented 'Rangeela (रंगीला)' in her own style.  This rendition was different from original of Asha Bhosle, but it was very good.  I liked it. Rahman presented 'O humdum suniyo re (ओ हमदम सुनियो रे)'. Rahman presented 'Mustafa (मुस्तफा)'. He forgot one line in this song but recovered quickly. He made the audience sing the vocables in perfect tune, at the end of this song. He then sang 'Hamma hamma (हम्मा हम्मा)'. This appeared to be an impromptu addition. He then sung 'Urvasi (ऊर्वशी)'.

Audience demanded Vande Mataram and he complied by singing the final song of the concert 'Ma tuza Salam (माॅ तुझे सलाम)'. All the audience was on their feet for the grand finale, entire song. 

The concert audience must be more than 10000. Audience went ecstatic when Rahman did anything, even announcement and whenever he began a new song and during the song. In the later part of concert fog joined-in to watch Rahman perform, obscuring view of the audience. Return journey was bad as visibility was about 10-15m due to heavy fog. 

Although it was publicized as 'All Hindi' concert, ARR could not stay away from a couple of songs from other languages. But no one seemed to mind. It was an extravaganza with laser graphics, that hurt the eyes some times, dances and music. We were sitting so far away from the stage that the only way we could recognize the artists was from the strategically placed video screens. Our position did nor allow us to enjoy the dances. 

Names of singers, musicians and back stage staff were displayed in an AV one after another, they were not introduced. So I missed some names. 

It was a very good concert with two flaws. Qawwali should have been at the start and length should have been 15-20 minutes shorter. All the performers were good, Rahman was excellent but Neeti and Ranjit were the stars of the night.

Entertainment rating 8.5/10.