Anoushka Shankar (Sitar)

Attended a concert of Anoushka Shankar (Sitar). She was accompanied by Ojas Adhiya (Tabla), Prashanna Devraja (Mridangam, Ghatam & Morsing), Danny Keane (Cello & Piano), Somdutta Basu (Tanpura) and Ravichandra Kulur (Bansuri & Kanjira). I attended this concert at Dubai Opera on 20th Dec 2019 with Jayant, Sucheeta, Sameer, Rucha, Pooja, Deepa and Nandu.

Concert started with 'Voice of the moon' in midnight Raag Kirwani. This was one of the early compositions of Anoushka.

She then played a piece titled 'Jannat' which she composed more than 10 years ago. She candidly confessed that she tried to include it in various albums but it was rejected. However, she likes to play it live. There was Sawal-Jawab between Tabla and Mridangam in this composition.

It was followed by piece titled 'Red Sun' from her album 'Rise'. This was a curious piece. Cello gave the chords and purcussions were provided by bol.

Main piece of the concert was 'Shiraz'. It was a musical rendition of a 1920s silent film by same name, a fictionalised account of love story that led to building of Taj Mahal. The composition started in Raag Bihag. It was an interesting concept of narrating a story through music. There was Kanjira-Ghatam jugalbandi, Cello-Morsing jugalbandi, Tabla solo (Ojas simply dazzled everyone with his dexterity and won a long applause), Mridangam solo, Tabla-Mridangam jugalbandi, Piano solo and all of them playing together. This piece concluded with a thunderous applause. 

Then they ask got up, did Namaskar to audience,  took a bow and left.  Just like that the concert was over. Audience was flabbergasted. They could not believe that the concert was over in just 1 hour 20 minutes. Finally reality sunk in and audience reluctantly left Dubai Opera. 

Piano and Cello player had musical notes in front of him while Tabla, Mridangam and Bansuri played improviso and so did Anoushka.

This was not a typical Hindustani Classical music concert. There was no build up of Raag with Aalap-Jod-Jhala. Concert was made up of various pieces composed by Anoushka. Five instruments were playing at the same time. So it was like a cross over concert. 

Participation of Ojas was a surprise because he was married only two days ago. Hats off to his dedication and thanks to his new wife. 

Anoushka in wine red evening gown and long earrings looked gorgeous. Colours of kurtas of accompanying musicians were also chosen carefully to not disturb colour coordination, except the chilly of sari of lady on Tanpura. 

Dubai Opera is a fantastic auditorium. Very impressive. Seating is very well laid out. Everyone gets clear view of stage without obstruction. Acoustics are also excellent. Auditorium enhances the experience. 

I left the concert with a feeling of dissatisfaction. We went for the concert from Abu Dhabi to Dubai but felt that she should have given more time for the audience.

 A good concert, but too short. 

Shankar - Ehsan - Loy (शंकर एहसान लाॅय)

Attended concert of 'Shankar - Ehsan - Loy (शंकर एहसान लाॅय)'. Apart from the trio, musicians were: Soumya Shringarpure on keyboard, Abhay Sharma on Saxophone, Deepak Bhat on Dhol and purcussions, Manoj Sapre on drums, Anupam Ghate on Congo, Prasad Malelkar on dhol and side rhythm, Shyam Pinto electric guitar, Dibya Jyotinath acoustic guitar, Ashish Saxena sound. Accompanying on vocals were Raman Mahadevan and Shrinidhi Ghatate. Joe Mohan was Emcee. Shankar also played the anchor. 

This concert was organised on 28th Nov 2019 by ISC Abu Dhabi as part of annual India Fest. I attended it with Mihika, Aditi and friends. We were seated in the third row right in front of the stage. 

Concert started with Ganesh vandana 'Ekadantay vakratunday', a perfect start. He immediately went into masti mode with 'Dil Chahta hai', 'Rock on' and 'Pretty woman'. He then sung melodic 'Sajda' from film My name is Khan. Next was a Malayalam song that sounded like 'Piccha viccha nal'. It was a sweet sonng that has got Shankar Kerala state award. He also had sawal jawab with saxophone in this song. 

Then he presented 'It's the time to disco' followed by 'Baware baware baware' based on Rajastani folk and 'Bumro Bumro' from film Mission Kashmir based on Kashmiri folk. Then there was a section of percussionists,  where he also introduced the drummer, Congo player and dhol players to the audience. He also had sawal jawab with percussionists. Vocal and percussion sawal jawab was a novelty and audience enjoyed it thoroughly. I thought this would be interval,  but they skipped it and Shankar sung 'Uff teri ada'.

Then he presented a mash up of various songs including a Tamil and a Malayalam song. Request for Marathi song fell on deaf ears due to numerical inferiority of Marathi community. He also had a jugalbandi of akar with audience where he sung a taan and audience followed. Audience did pretty well and Shankar appreciated it. This knack of involving audience kept the audience always engaged and excited. He also had sawal jawab with Saxophone. To entice the audience into masti mode, he also played VVIP against back benchers, ladies against gents etc. 

Next was 'Tu dhup hai' by Raman from film Tare zamin par. Raman has sung the original song as well. Loy then played a solo keyboard piece that transposed into one of their very favorite song 'Har ghadi badal rahi hai'. Shankar then presented one of the most emotional song 'Meri ma' from Tare zamin par. Upon Shankar's recommendation entire audience was waving their mobile torches for this song. It appeared as if literally they were tare zamin par. What a sight! The song is so beautiful and touchy that it brought tears to Aditi's eyes. It was followed by 'Mere man ye bata de tu' and then a small section for Indian classical music lovers that contained variations in sargam.

As the concert approached the end he sung the sing that waltzed Shankar into limelight many years ago; 'Breathless'. Although it was very good, he could not conceal breath. Was it age? Probably he did not get enough rest before this song. Perhaps a break and then this song immediately after break would have done the trick. Last song was Galla gudiyan.

All the songs were either composed by the  trio or sung by Shankar. Shankar encouraged and applauded young talent like Shrinidhi and Abhay.

Shankar presented many variations that are not in the original soundtracks. In some songs he took additions customized for the city. Shankar's maliflous voice ke kya kehne? Everything is possible and nothing seems difficult. It was bliss!

Concert lasted 2 hours. This felt inadequate because of short duration and because you never get satisfied with Shankar. Moreover, I thought that the end was little abrupt and did not reach peak. In my opinion either Breathless or Meri ma should have been the last song. Ye dil mangta raha more.

There were no speakers at the back. Although audience did not mind, had the arrangement been made, it would have enhanced experience for all. A drone was filming the concert and audience.

A special acknowledgement for organizers and artists for starting the concert 4 minutes before time. It was a pleasant and welcome surprise. The open air seating arrangement was comfortable and not cramped. Parking arrangement was also good. 

They had installed multiple LED scenes in the background of stage. In the digital age, the background graphics were very good and designed for each song.

 A very good concert. 

Amhi duniyeche raje (आम्ही दुनियेचे राजे)

Attended a concert titled 'Amhi duniyeche raje (आम्ही दुनियेचे राजे)'. The program was conceptualized, written & directed by Devendra Bhome. He was also the music arranger. The program was anchored by Abhijit Khandkekar and Gautami Deshpande. 

Singers were Jaydip Vaidya, Ashutosh Mungle, Mukta Joshi and Shruti Athavle. They were supported by Ketan Pawar on Tabla and percussion and Devendra Bhome on Keyboard and Harmonium. Lighting was handled by Tejas Devdhar. Kushal Khot was the manager.

This concert was organised on 25th Oct 2019, on the occasion of Diwali, by Maharashtra Mandal Abu Dhabi at Indian Islamic Center. I attended it with Mihika, Aditi, Sameer, Pooja, Jayant, Sucheeta, Prakash, Swati, Ashok and Savita.

Concept of this concert was unique. The idea was to present old melodies in contemporary styl,  somewhat like Coke Studio. Although creator dies, good creation doesn't die. The music, the words and tune remains the same but it is presented using contemporary instruments, style, musicians and singers. 

Concert started with the title song by Jaydip 'Amhi duniyeche raje (आम्ही दुनायेचे राजे)' which transformed seamlessly into 'Lakh lakh chanderi (लख लख चंदेरी)'. Mukta made an entrance with 'Rimzim paus (रिमझिम पाऊस)' & 'Saptapadi hi roj chalte (सप्तपदी ही रोज चालते)'. Ashutosh presented initial song of Pu La's 'Batatyachi chal (बटाट्याची चाळ)'. He presented it without music and was excellent. Shruti was the fourth singer and she started with 'Hi kuni chedli taar (ही कुणी छेडिली तार)'.

Jaydeep presented 'Shabdanchya palikadale (शब्दांच्या पलिकडले)' followed by Ashutosh's mukhda of 'Tu ashi jawali raha (तू अशी जवळी रहा)' and his two duets with Shruti 'Shukratara (शुक्रतारा)' & 'Jadu ashi ghade hi (जादु अशी घडे ही)'. Mukta came up with 'Raghupati Raghav gajari gajari (रघुपती राघव गजरी गजरी)' and 'Ye ga ye ga Vithabai (ये गं ये गं विठाबाई)'. Then came Shruti with 'Kausalyecha Ram (कौसल्येचा राम)', one of the best songs of this program. Last song before interval was Jaydip's 'Ghana Ghana mala nabhi datlya (घन घन माळा नभी दाटल्या)', an excellent rendition.

Post interval session started with Ashutosh singing 'Lajun hasane an (लाजून हासणे अन्)'. There was a technical issue with pre recorded music. He sung this song with chords and Tabla. Mukta presented sweet song 'Chanda tuza majla ka Mukunda lawiyala (छंद तुझा मजला का मुकुंदा लावियला)'.

Then it was Lawni time when Mukta and Shruti presented 'Ghatle bilwar, ghatli nathani (घातले बिलवर, घातली नथनी)' and 'Jigar khol'lyabigar aj jau naka (जिगर खोलल्याबिगर आज जाऊ नका)'. Both these lawnis were very good but unpopular. These were the only two songs I had not heard before. Then Mukta presented 'Padarawarti jartaricha (पदरावरती जरतारीचा)' written by GaDiMa. This song was greeted with a huge applause. Then she presented Sudhir Phadke's 'Mala lawkar gharakade jaudya (मला लवकर घराकडे जाऊद्या)'. Lawni session concluded with the evergreen 'Tumhawar keli mi marji bahal (तुम्हावर केली मी मर्जी बहाल)' by Shruti. Although this season was good, Dholki was sorely missed. Tabla simply can't replace Dholki.

Jaydip presented 'Sanga Mukund kuni ha pahila (सांगा मुकुंद कुणी हा पाहीला)' of Honaji Bala. This was the best song of the night. He demonstrated why he is a highly rated and sought after singer. All singers then presented Sudheer Phadke medley 'Janata ajanata (जाणता अजाणता)', 'Tocha chandrama nabhat (तोच चंद्रमा नभात)', 'Rupas bhal'lo mi (रूपास भाळलो मी)' and 'Dhundi kalyana (धुंदी कळ्यांना)'.

As the concert came towards conclusion, Mukta presented 'Neej mazya Nandalala (नीज माझ्या नंदलाला)', also one of the best songs of the concert. It was followed by Shruti's 'Zulwu nako hindola (झुलवू नको हिंदोळा)'.

Concert concluded with a bandish 'Dekho more saiyan (देखो मोरे सैंया)' and 'Aga vaikunthichya raya (आगा वैकुंठीच्या राया)'. End of concert did not have a crescendo and was a bit abrupt. 

Concept of this concert was innovative. It's like presenting the compositions (gem - हीरा) in new setting (कोंदण) without disturbing the soul. All the selected songs were basically presented in slow cadence with only essential music. Some songs were with live music, some with pre recorded music and some with a combination of both. While singing Sudhir Phadke songs his signature pronounced sha (ष) was missing. 

Interestingly, they did not restrict themselves to start the song from beginning. Some times they started from Mukhada, sometimes from start of Antara, sometimes from second or even third line. This was novelty and appealed to me as original. It also had a special effect.

Although the program had two anchors, singers and musicians contributed in narration through informal discussions interspersed with anecdotes and tales of music, musicians, song writers.

I went to the program hoping that it will not be marathi zankar beats and expecting something new. The program did not disappoint me. 

This was the 1st international performance of Amhi duniyeche raje. A little more finesse would help (like movement of the artists on stage), but it would come with more shows. Overall pace of the program appeared to be on slower side and it slowed down further during narration. Some attention required on this aspect. 

Ashutosh, Mukta, Shruti and Jaydip are very good singers. Their performance was flawless. Although assisted by pre recorded music, Devendra and Ketan were a good match for the singers. Anchors provided the star power and performed the task of the thread that binds the quilt. In short, all the singers were excellent, musicians were good, anchors did well, however, somehow,  overall effect of the program was not greater than sum of it's  parts. 

The concept of program is bold. There will always be a section of audience who does not approve deviation from the original. MMAD committee deserves credit for daring to go for this program instead of a traditional one for Diwali.

Trivia: Gautami is a qualified engineer and has worked as a professional in corporate world before entering show biz. She is also younger sister of Marathi actress Murnmayee Deshpande.

All the artists are very nice and cordial when not in limelight. They are not pretentious.

Sachin Patwardhan (Spanish Veena)

Attended a concert of Sachin Patwardhan (Spanish Veena) accompanied by Parag Dhadphale (Tabla) organized by Anubhooti at Embassy of India, Abu Dhabi, on 11th Oct 2019 with Aditi and Mane, Patil, Thangaokar, Oka families . Attendance to the concert was @ 90.

Sachin is a disciple of Utd. Amjad Ali Khan of Bangash Gharana. Parag is disciple of Pt. Suresh Samsnt and Pt. Sudhir Mainkar.

Spanish Veena is an instrument invented by Sachinji by adding strings to Spanish Guitar and making it suitable to play Hindustani classical music.

Sachin started the concert with bada khyal. It was late morning Raag Charukeshi. This is 26th melakarta raag from Cathartic music and is adopted into Hindustani classical music. He started with Aalap, Jod, Jhala. The base was created in this phase. Then he elaborated the raag with three bandishes. First bandish was in Rupak taal, second one was in Madhyalay Teen taal and last one was in Drut teen taal. He played Charukeshi for about 1 hour 15 minutes. 

Audience demanded a chota khyal. So it was another late morning Raag Gujri Todi of Todi thaat. This raag is very effective in producing karun rasa. He presented a composition in Teen taal. The crescendo of this raag was especialy good. 

Concert ended with my favourite Bhairavi. He presented Bhairavi first without Tabla. This was too good. Then he continued Bhairavi with Tabla and concluded the concert on a high note.

Sachin played Spanish Veena with ease. He displayed his dexterity in playing fine as well as strong notes, slow as well as fast lay and was applauded frequently. Sachin is also a very down to earth person, no ego.

Parag got his 5 min of fame 3 times and made good use of it. He too was encouraged by audience to play freely.

It was evident that these two artists were playing together for the first time. They were tentative initially but the stated to gel and the association grew as the concert proceeded. 

Sachin is the musician of new generation.  He is tech savy. He had his Macbook connected and had earphones plugged to one ear to get direct sound feedback. His Spanish Veena sound output was given directly to sound system so there was no microphones in front of him.

The concert lasted for 2 hours. Sound and lights were good. Embassy of India awarded certificates of appreciation to the artists. This was Anubhooti's 14th concert. 

Trivia: Sachin ji is originally a Sarod player and also plays violin. He is also an MBA. Parag is an engineer. A highly qualified duo. 

It was a unique concert because he is the only one who plays Spanish Veena.. 

Disclosure: I am a founder member of Anubhooti.

Shruti Gokhale (Vocal)

Attended a concert of Vidushi Shruti Gokhale (Vocal). Shrutiji was accompanied by Bhushan Rao (Tabla) and Meghan Shrikhande (Harmonium). This concert was organised on 21st Sep 2019. It was a home baithak organized by Triveni Sangeet Sabha.

Shruti ji, disciple of Mrs.Shubdha Paradkar and received guidance from Pt. Arun Kashalkar. She renders Gwalior, Agra and Jaipur Gayaki with proficiency and ease. Bhushan is a disciple of Giridharprasad Jaypurwale of Dilli gharana. Meghan is a disciple of Pt. Jitendra Abhisheki. Ruta Deshmukh provided vocal accompaniment. 

Although it was a little late (5.30 pm) for the raag, selected raag of the concert was afternoon Raag Bhimpalasi (भीमपलासी), a raag for Bhaktiras, of Kafi (काफी) thaat.

First she presented a bandish (बंदिश), 'Par na payo (पार ना पायो)', composed by Tansen Ramtanu Mishra, in madhyalaya teental (तिन ताल). Shruti ji created foundation, built on it and used alap and sargam for badhat.

It was followed by famous bandish 'Biraj mein dhoom machayo Shyam (बिरजमें धूम मचायो श्याम)' in drut Teen taal. Audience liked this short rendition of known song. 

She then presented sampoorna-sampoorna midnight raag Kafi, of course of Kafi thaat. Raag Kafi has direct lineage with folk music of India. Srinagar is principal rasa of this raga. 

She presented Thumri (ठुमरी) 'Kaisi ye dhoom machai (कैसी ये धूम मचाई)' made famous by Begum Akhtar and Girija Devi.

Next presentation was a Bandish 'Guru mata (गुरू माता)' composed by herself on her Guru Shubhada Paradkar in serious raag Bibhas (बिभास) of Bhairav (भैरव) thaat in Ada Chautal (आडा चौताल). Although it was not designated time of this raag, she sung it upon farmaish. It was a pleasant composition. 

Second half of the concert was dedicated to light music. She first presented a bhajan 'Chitarya chitre kadhi bhintiwari (चिताऱ्या चित्रे काढी भिंतीवरी)'. It was a composition of Bhajanbhushan Gajananbuva Patil in raag Shivaranjani (शिवरंजनी). Audience joined in as chorus for this and subsequent bhajans.

Based on audience response she chose another abhang of Gajananbuva Patil. It was 'Kela maticha pashupati (केला मातीचा पशुपती)' in raag Bageshree (बागेश्री) and Abhogi (अभोगी). This was a meaningful song by Sant Tukaram and it was a beautiful rendition. Shruti ji got emotional by remembering Gajananbuwa.

She then presented another Bhajan 'Ram Krishna Hari (राम कृष्ण हरी)' of Gajananbuwa based on Raag Bahar (बहार) in Teen taal (तिन ताल). Iit was followed by Gajananbuva's Gawalan 'Bai tuza ladka kanha (बाई तुझा कान्हा)' of Sant Eknath, based on raag Mishra Kafi.

Final rendition if the concert was 'Tu akash mi bhumika (तु आकाश मी भूमिका)' of Sant Namdev composed by Gajananbuva Patil. It was a Bhairavi (भैरवी), my favourite.

She presented a number of sweet compositions of Bhajanbhushan Gajananbuva Patil. I have become curious about this artist. Unfortunately not many recordings of his exist.

Shruti ji is a very down to earth person, no ego.  Her taans are very good and laykari is very good too. Her voice appeared to be strained. Especialy during bhajans she was struggling with her voice. Probably effect of yesterday's concert in Dubai?

Bhushan ji and Meghan ji, both local talents, ably provided apt accompaniment and were encouraged by audience.

Around 50 rasiks attended the concert. Bose sound system was good for the size of hall. 

It was a good home baithak.

Vivek Sonar (Bansuri)

Attended a concert of Vivek Sonar (Bansuri) accompanied by Ojas Adhiya (Tabla)  organized by Anubhooti at Embassy of India, Abu Dhabi, on 28th Jun 2019 with Aditi, Mihika and Mane, Patil, Thangaokar, Sambhaji, Oka families . Attendance to the concert was @ 140.

Vivek is a senior disciple of Pt. Hriprasad Chaurasia of Maihar Gharana. Ojas is disciple of Shri Mridangraj ji and belongs to Ajrada gharana.

Vivek dedicated this concert to Pt. Bhai Gaytonde who passed away previous day. Bada khayal of the concert was Raag Madhuwanti (मधुवंती), a romantic raag of Todi thaat.  It was the raag of the time of the day. 

He started with Alap followed by Jod. He played slow delicate notes and built the foundation for the badhat of raag. There was spontaneous appreciation and applause on many occasions. He demonstrated his skills in laykari as well as tantrakari. Tantrakari portion was fabulous. I realised that I did not change pose, in which I was sitting, until jod was over. At the end of jod, some one from audience said 'don't stop'. This was probably best presentation of the concert. Then he presented a composition in Madhyataal (9 matra), where Ojas joined him. 

He asked which raag would the audience like to listen next? Audience suggested Marwa. Although he did not approve of the raag because if its mood and timing, Marwa it was. Marwa the meditative sandhiprakash raag of Marwa thaat. He played it in contemplative fashion. 

Vivek then chose a peculiar raag, Raag Bhinna Shadja of Bilaval Thaat. It's also known as Kaushik dhwani. Never heard it played in a concert earlier. The gat he played was very good. This was a beautiful rendition. Towards the end of this Raag they played sawal-jawab. This was a feat to watch. Needless to say audience went ecstatic.  

  

Then he played a dhun from film Chandani, in Pahadi. It was Aditi's farmaish. Finally he played Pahadi Dhun which has birthed a number of hindi film songs. Audience was left to guess the hindi songs on this dhun.

By his choice of Raag and the presentation,  Vivek achieved a difficult feat of addressing the tastes of all kind of audience. Everyone got something of their liking. He mesmerized everyone. Vivek proved that he has the pulse of audience. 

Ojas displayed that he can play delicate, regular as well as lightening fast tabla with equal ease and finesse. He matched Vivek, stroke by stroke. 

Ojas challenged Vivek with his fluid tabla play and Vivek rose to the occasion and countered him with damdar tantrakari. It was heartening to see healthy competition on stage and it was a pleasure to watch. 

Audience was overjoyed and many came back to organizers lovingly protesting that they wanted the concert to go on for another half an hour. 

The concert lasted for 2 hours. Sound and lights were good. This was Anubhooti's 13th concert and came after a gap of one and half years. 

Trivia: Vivek informed that apart from his guru, Pt Hariprasad Chaurasia, Kishoritai Amonkar had taught Marwa raag to him.

A mesmerising evening. 

Disclosure: I am a founder member of Anubhooti.

Shalmalee Joshi (Vocal)

Attended a concert of Shalmalee Joshi (Vocal). Shalmalee was accompanied by Tejovrush Joshi (Tabla) and Anup Rajpurohit (Harmonium). This concert was organised on 27th April 2019. It was a home baithak. I attended the concert with Aditi, Sucheeta, Rucha and Pooja.

Shalmalee, disciple of Madhuri Kulkarni, Pt. Chintubuva Mhaiskar, Smt. Padma Talwalkar, Pt. Ratnakar Pai & Govindji Kalla, hails from Jaipur Atrauli gharana. Tejovrush is a disciple of Bapusaheb Patwardhan of Farukhabad gharana and son of Shalmalee. Anoop is a disciple of Sudhir Naik of P.Madhukar gharana. Shalmalee was assisted by Mallika Kilpady for vocals and and Girish Pande  on Tanpura.

Selected raag of the concert was Raag Gujari Todi (गुजरी तोडी). Gujri Todi is a 2nd prahar raag of Todi thaat (तोडी थाट). This raag is considered effective in producing karun ras (करुण रस).

First she presented a bandish (बंदिश), Jiyu mora chahe (जियू मोरा चाहे) in Vilambit Teen Taal. She started steady,  built up meticulously, consolidated base and then demonstrated variations that were appreciated and applauded by audience. Anoop was also applauded for his harmonium. 

She then presented bandish Sughara banaree (सुघर बनरी) in drut teentaal. This was a lesser known version (I think the one in Ada Chautal is more famous).

Final presentation of raag was Tarana (Tadiyan de re tadiyana tana). I had never heard this Tarana before. Her beautiful rendition was perfect. Audience was lost in the tune. 

She then presented second raag of the concert, afternoon Raag Madhamad Sarang (मधमद सारंग) of Kafi that (काफी थाट). The bandish was Mera rangeela banara banike ghar aya (मेरा रंगिला बनरा बनिके घर आया). She took her time in developing the raag and showing the variations to the audience. She then presented Rang-de, Rang-de a fast paced bandish. Tejovrush extracted his share of applause when rendition came to drut lay.

Her unique taans,gamak and laykari (specially of Jaipur Atrauli gharana) were liked by all. Clear notes, steady voice and variations are her forte. She is also a down to earth person. Tejovrush and Anoop are future stars in making. 

Normally concerts are organized in evening or night, so it's rare to get to hear morning and afternoon raags. This concert straddled noon and allowed the singer as well as audience to enjoy morning and early afternoon raags.

Around 40 real asiks attended the concert. Sound system was good for the size of hall. It was an excellent concert in informal atmosphere. 

Chirag Katti (Sitar)

Attended a concert of Chirag Katti (Sitar). Chirag was accompanied by Rajkumar Chaterjee (Tabla). This concert was organised by Kanan Music Circle at the residence of Girish and Sangya on 21st Feb 2019. I attended the concert with Aditi and Jayant.

Chirag, disciple of his father Pt. Shashank Katti, hails from Imdadkhani gharana. Rajkumar is a disciple of Pt. Arvind Kumar Azad of Benares gharana.

Bada Khyal of the concert was evening mishra Raag Puriya Kalyan ( पूरिया कल्याण) of Marwa thaat. He started with conventional Aalap - Jod - Jhala. Some of the audience left after this. He then presented two compositions. Tabla joined in for these. First was in Madhyalay Jhaptaal (10 beat cycle) and second was in Teen taal (16 beat cycle). Chirag and consequently the audience enjoyed the second composition. Finally crescendo when he played very fast, tabalji struggled a little bit to keep up. 

He then played a dhun in late night Raag Khamaj (खमाज) of Khamaj thaat. This raag has been explored more in the lighter forms. This was a familiar tune and everyone connected with it and enjoyed it. 

This was time to end the concert but audience wanted more and Chirag acceded to continue.  

So, Chota Khyal was 26th melakarta raag from Carnatic music, night Raag Charukeshi (चारूकेशी). He presented a short composition. From Charukeshi he moved to Raagmala. Here he played a number of known tunes. Audience liked it because they were able to recognize the tunes. (Marma bandhatli, Dere Kanha, Rasme ulfat etc.). Raagmala and concert ended with Bhairavi.

Chirag gave audience some impromptu lessons about Hindustani Classical Music. He explained how adding or removing one note one raag changes to another and then another (Kalawati to Janasammohini to Gawati to Vachaspati) etc.

Chirag displayed his command over delicate,  forte,  gayaki and jazzy notes. His meends received spontaneous applause from audience. 

I had heard Puriya Kalyan as Bada Khyal in a live concert only once earlier in Alladiyakhan festival. Puriya Kalyan is a blend of Raag Yaman and Raag Puriya.

Chirag is a perfectionist and took his time till the sound system was set to his satisfaction. Audience, sensing the perfectionist in him, waited patiently. 

Music system was decent but could have been sharper, especially, for finer and delicate notes. 

Entertainment rating 8/10.