Milind Raikar (Violin)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Entertainment rating 9.5/10.

Disclosure: I am a founder member of Anubhooti.

Haaye Akhtari (हायअख्तरी) by Malhaar

Attended a thematic program titled 'Haaye Akhtari' (हायअख्तरी), celebrating 100 years of Begum Akhtar's musical legacy presented by Malhaar on 19th Sep 2015 at Madinat theater, Dubai with Nandu, Jayant and my father.

Begum Akhtar was called 'Malika-e-Gazal (मलिका ए गझल)' and was known for her Gazals, Thumris and Dadras. She was instrumental in bringing singing from 'Tawayafkhana' to respect.

Program started from Begum Akhtar's childhood and took us through death of her twin sister, her musical education, her success as Akhtari bai Faisabadi, her rape, birth of a daughter from the rape, her mother's decision to make her daughter her little sister, move to Calcutta, success of her LPs, her film career, her decision to quit films and later quit singing, her marriage, Indian independence, death of her mother, restart of her singing (her life), her performance at Shimla political summit and her death during a concert.

The lighthouse in her life was her mother who stood by her in thick and thin, supported her, took care of her, guided her and accepted public shame for her.

A number of taans (तान) and mukhdas (मुखडा) were presented along with a few full songs. First full song was a Thumri 'Ankhiyan nind na aayi (अखियन् निंद ना आई)' in Mishra Tilang. Balamwa tum kya jano preet (बलमवा तुम क्या जानो प्रीत). Aalam hai tanahai ka (आलम है तनहाईका). Bahut kathin hai dagar panghatki (बहुत कठिन है डगर पनघट की). Deewana banana hai to deewan bana de (दीवाना बनाना है तो दीवाना बना दे). Koi keh de gulshan gulshan (कोई कह दे गुलशन गुलशन), this was presented with an excellent dance. Part Bengali party Hindi song Koyaliya (कोयलिया). Cha rahi kaali ghata (छा रही काली घटा). Mere hamnafas mere hamnawaz (मेरे हमनफस मेरे हमनवाझ)
Ulti ho gayi sab tatbirein (उलटी हो गई सब ततबीरें). Wo Jo gum mein tumne (वो जो गम में तुमने) with dance. Hamri atariyape awo sawariya (हमरी अटरीयापे आवो सावरीया ), a Dadra. E mohobbat tere anjam pe rona aya (ऐ मुहोब्बत तेरे अंजामपे रोना आया).

The stage arrangement was very interesting. Eight singers were seated on the left, six musicians on the right and center and front portion of the stage was used for narration & drama. This program was a demonstration of how to make effective use of stage. Despite so many persons on stage, the focus remained where it should with the help of light and sound.

When you present a thematic program that contains acting, music, dance, shero-shayri and narration it's very important to maintain right balance of all and each of the faculty has to be equally good. Malhaar achieved it.

Singing and singers, Music and musicians were good, especially Tabla, Sarangi and Harmonium. Dance and choreography was excellent but at times was short on synchronization. Direction (Dance, Rhythm and General) was very good. Sound and lighting was superb and contributes a lot in the success. Anchor did just that. He anchored the program and played small roles moving in and out of roles and anchoring seamlessly. He also had good command on Urdu. Script was the soul of this show. Begum Akhtar's life is not a drama, to keep the balance of story and music was a walk on right rope and was gracefully achieved.

All the artists were from UAE. It was demonstrated that there is no shortage of talent outside India.

Begum Akhtar's singing was liked by one and all but her speech (audio was played) was also musical. Actress playing Akhtari was not a singer, had she been a singer it would have created more impact. More use of shadows would have enhanced the effect. I would have enacted Akhtari's death in the show, knowing that she died while trying to achieve a high note that she was not able to dur to her advanced age.

Entertainment rating 8.75/10.

Suchismita & Debopriya (Flute)

Attended concert of Suchismita Chaterji (Flute) & Debopriya Chaterji (Flute) accompanied by Sawani Talwalkar (Tabla) on 5th Apr 2015 in Chembur, Mumbai. I attended the concert with Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

This was a one raag concert. It was Raag Jog. First they played without Tabla (solo, tandem and synchronized) and later Tabla joined them. This raag lasted one hour.

To conclude the concert they presented a Thumri in Raag Mishra Pilu. They said that this has become rare now a days.

Most of the jugalbandis are of two different instruments. Previously I have also attended  carnatic violin duet concerts. This was first time I attended a flute jugalbandi. It was innovative and piqued my interest.

This was also a ladies special concert. It was interesting and entertaining. I had a premium seat right in front of the artists and about 10 ft away. Parents of the artists attended the concert with general audience. It was also birthday of their mother.

Suchismita & Debopriya displayed fine synchronized and complimentary flute play, though they went slightly out of sync on a couple of occasions. They displayed controlled flute in the first half an hour of concert where they played without Tabla, this was the best part of the concert.

Sawani justified her lineage by playing very good tabla. She refrained from playing fancy and stuck to traditional tabla play. She too missed a beat once.

The duration of concert was about 1 hr 10 minutes. Around 250 people attended.

A different concert. Entertainment rating 7.75/10.

Padmashree Shubha Mudgal (Vocal)

Attended concert of Padmashree Shubha Mudgal (Vocal) accompanied by Dr. Aneesh Pradhan (Tabla - तबला), Sudheer Naik (Samwadini - संवादिनी) and Diya Kundu (Tanpura & Vocal accompaniment), a very young disciple of Shubhaji. The concert was part of Emirates NBD Classics III series at DUCTAC, Dubai on 5th Dec 2014. I attended the concert with my father-in-law. Thanks to Kumar.

Concert started with Raag Bageshree. She presented two compositions. First was 'Sajan bahu gun kam na aye..' in vilambit Ektal and second 'Harawa gundh lao ri..' in madhyalay Teen taal.

Then she spresented two short compositions in Raag Chhayanat composed by her Guru Ramashreya Jha alias Ramrang. First composition was 'Aaj man laago mero ...' in  Jhaptaal (This was composed as a tribute to Vishnu Narayan Bhatkhande, the great). Second composition was 'Kar kanganwa..' in Teen tal. This was a beautiful composition about how Sita sees Ram's reflection in her bangle before garlanding (marrying) him. It was my first time to hear Raag Chhayanat live and I liked it.

Then she presented Bol Banao Thumri 'Piya ke jagaye, jaag pari main to ...'. Bol Banao Thumri is speciality of Banaras gharana (Purvi ang). This Thumri was different. It was slower than Thumris I know. Aneeshji got a free hand towards the end and he was very good.

Final composition was Jhula ' Dheere dheere jhulao ...', taught to her by Naina Devi. Jhula is influenced by folk music and is a speciality of Uttar Pradesh.

After she concluded a farmaish (request) was made for Dadra 'Sunder sari mori ...' And Shubhaji fulfilled the request. But it did not end there. Audience urged her to sing Thumri 'Balam tere zagde mein rain gai ...' She liked the farmaish and sung it.

Start appeared a bit tentative to my untrained ears, but then Shubaji sung very well (goes without saying). I especially enjoyed her aalap.

Sudheerji also plays harmonium with great command and was applauded by audience. Understanding between Shubhaji & Aneeshji was excellent. Being Husband-Wife helps!

Sound system did not give any trouble and temperature of auditorium was not cold. Infact I would have preferred a couple of degree Centigrades lower.

Raag Chhayanat, Bol banao Thumri, Jhula & Dadra .. Wow... This concert was definitely 'different' and out of beaten track.

A very good concert. Entertainment rating 8.5/10.

Bickram Ghosh (Tabla)

Attended "Sufusion" a concert of Bickram Ghosh (tabla) assisted by Arun Kumar (drums), Pulit Sarkar (keyboard), Abhishek Malik (electric sitar), Amrish Das (vocal), Parvati Kumari (vocal), Biswanath Majumdar (purcussions) and  Tarun Chaktavarty (Dholak) at DUCTAC, Dubai on 8th Nov 2013 with Kumar, Thangaokar family, Banchhode family, Kunte family and for the first time Siddhant & Mihika.

Bickram, son of Pt. Shankar Ghosh, was the principal accompanist of Pt. Ravi Shankar for 10 years and is winner of Grammy award.

Concert started with 'Dance of Shiva' in raag Jog. This was not a Sufi piece, but it set the mood of concert on high.

Sufi part started with 2 kalams of Bulle Shah 'Are logon' & 'Ghoohat mein'. It was followed by Patiala gharana thumri 'Yaad piya ki awe'. Next came 'Gangotri' in raag Mishra Bhairavi. This followed by solo purcussion pieces. Every one played very well but the drummer stole this section.

Then there was a section of non instrumental percussion (by mouth) where the performance dipped slightly. Bickram then involved audience by asking them to play, whatever he plays, by clapping. Audience stood up to the occasion by repeating correctly.

Penultimate number was 'e ri sakhi' by Amir Khusro in raag Desh, in Sufi and Thumri style. Grand finale was 'damadam mast kalandar'. Satariya was too good here. Concert ended on a high note.

This was a rare concert where the principal artist did not always grab the center stage. Communication and understanding between Bickram and drummer was excellent.

Electric sitar was a novelty but sounded artificial, probably because we are used to conventional sitar. Parvati's uninhabited voice was a good change. She has excellent upper range. Amrish, though sang very very well, was not able to erase influence of Hindustani style while singing Sufi. Dholak was the weak link today. Also there was nothing in lower octaves in this concert.

Sound system was a little too loud. Drums (mike) should have been toned down. Vocals were muffled sometimes.

An excellent concert. Rating 9.5/10.
Fod dala!