Vidushi Shubha Mudgal (Vocal)

Attended a concert of Vidushi Shubha Mudgal (Vocal) accompanied by Dr. Aneesh Pradhan (Tabla, disciple of Pt. Nikhil Ghosh) and Sudhir Nayak (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Shubha Mudgal (Gwalior, Agra and Jaipur Gharana) hails from Delhi. She is disciple of Pt. Ramashreya Jha, Pt. Vinay Chandra Maudgalya, Pt. Vasant Thakar, Pt. Jitendra Abhisheki & Pt. Kumar Gandharva.

Bada Khyal of the concert was night Raag Abhogi Kanada (अभोगी कानडा) of Kafi That (काफी थाट).

First bandish was 'Kahe gumaan kare gori (काहे गुमान करे गोरी)' in Vilambit Ek Taal (एक ताल). She used Aakar (आकार) for badhat (बढत). Her slow, detailed and clear rendition was appreciated by everyone.

Second bandish was 'Sulzat nahi man (सुलझत नाही मन)' in Teen Taal (तीन ताल). She received a long applause at the end.

She then presented a composition of her Guru Pt. Ramashreya Jha 'Nabha nirakh aj (नभ निरख आज)' followed by 'Ratiya nind na aye (रतिया निंद ना आए)'. Both of these were beautiful and appreciated by audience as well as accompanists.

Last presentation was Chaiti (चैती) 'Ramji ke ban ma pathole (रामजी के बनमा पठौले)'. This song narrates the incidence of Kaikeyi sending Ram to vanvas. Concert was supposed to conclude here but audience did not leave. Since this was the last concert of the festival, they insisted on conclusion with Bhairavi.

So concert concluded with a Bhairavi 'Ajar jharey ras gagan gufa mein (अजर झरे रस गगन गुफाँं में)', a Kabir composition from her album. She sung this song with a lot of emotions and made the audience tender, a combined effect of her soulful singing and conclusion of festival.

It is well known how good a singer Shubha ji is and she sung to her reputation. She impressed one and all. She has unbelievable range. Audience was ecstatic. Even her vocal accompanist and disciple (I missed her name) was very good and was applauded by the audience.

The pair of Anish ji and Sudhir ji always brings liveliness to the concert. They enjoy playing together and the enjoyment spills over to the audience. With Subha ji, they outdid themselves.

It was a full house. Fantastic. Memorable. Fitting conclusion of the festival.

Trivia: Spontaneous poetry (शीघ्र काव्य), on the artists and Raag they performed, by anchor Amey Bal was highlight of this festival. His poetry, at the end of each concert, was frequently appreciated and applauded.

Entertainment rating 9.5/10.

Pt. Harish Tiwari (Vocal)

Attended a concert of Pt. Harish Tiwari (Vocal) accompanied by Abhay Datar (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Harish Tiwari (Gwalior, Shyamchaurasi Gharana of Punjab and Kirana Gharana) hails from Delhi. He is disciple of Thakur Choubey, Ajeet Bhattacharya, Acharya Nandanji and Pt. Bhimsen Joshi.

Raag of the concert was evening Raag Puriya Dhanashree (पूरिया धनश्री) in Purvi That (पूर्वी थाट). He presented bandish 'Sumiro tero naam (सुमिरो तेरो नाम)' in Vilambit Ektaal. It took me long time to decipher the words, but finally I did. When he sung Aakar in higher octaves his voice became very delicate.

Second bandish was the famous drut bandish 'Payaliya jhankar (पायलिया झंकार)'. Everyone enjoyed.

He then asked the audience if they want Thumri or Bhajan. Not happy to choose one audience demanded both. So he complied.

First he sang Thumri 'Piya to manat nahi (पिया तो मानत नाही)' in Raag Mishra Kafi (मिश्र काफी).

Finally he sang bhajan (भजन) 'Roop pahta lochani (रूप पाहता लोचनी)' from Abhangwani. Audience heartily applauded him for singing a Marathi bhajan. Concert was supposed to end here, but public demanded one more and thus he concluded the concert with Bhimsenji's famous 'Tirtha Vitthal (तिर्थ विठ्ठल)'.

Organizers specifically appreciated him for singing Marathi bhajan and he politely replied that an artist belongs to everywhere.

Harishji is an accomplished singer. I particularly liked his Akars (आकार). Influence of Pt. Bhimsen Joshi on his singing was evident even to a non-expert like me. There was no need to tell that he is his disciple.

Tabla and Harmonium matched the singing stroke to stroke and note to note. Niranjan was applauded by audience.

Entertainment rating 9/10.

Vidushi Kalapini Komkali (Vocal)

Attended a concert of Vidushi Kalapini Komkali (Vocal) accompanied by Yati Bhagwat (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Kalapini Komkali (Gwalior Gharana) is daughter of Pt. Kumar Gandharva. She hails from Dewas. She is disciple of Pt. Kumar Gandharva and Vidushi Vasundhara Komkali.

Kalapniji's chosen Raag for the concert was late afternoon Raag Multani (मुलतानी) of Todi That (तोडी थाट).

1st bandish, Bada Khyal, was 'Begi ya (बेगी या)' in Vilambit Tritaal (त्रिताल). Audience listened to her forceful rendition with rapt attention.

2nd bandish was 'Lagi lagi re sawariyan (लागी लागी रे सावरियाँं)' in Madhyalay Tritaal (त्रिताल).

3rd bandish was a fast composition 'Dil bekarar (दिल बेकरार)' composed by Pt. Kumar Gandharva in drut Tritaal (त्रिताल).

Kalapini ji presented three Bandishes non stop. Audience wanted to applaud, but she did not give them a chance until the end of third. Then she accepted a big applause.

Second Raag of concert was Raag Bhup (भूप) She presented a Madhyalay Rachana 'Abeer gulal (अबिर गुलाल)' composed by Pt. Kumar Gandharva.

Concert concluded with a very old traditional Madhyalay tarana, a rarity, as most Tarana are drut lay. Interesting! First time for me.

Concert was to end here but audience wanted another composition of few more minutes. She acceded and presented a Chaiti (चैती) 'Pattiyan (पत्तियाँं)'.

Yati and Niranjan accompanied well and were appreciated by Kalapini ji. Their jugalbandi drew audience applause.

When Kalapiniji was about to start the concert, someone pointed out that the announcement is still balance. She gracefully waited till it was over won the audience by her crisp commentary.

Needless to say that she sung well and powerful singing was appreciated. After the end of concert an old lady approached her and told her that she reminded her of Kumarji. What other compliment does one required. Yours truly happened to witness this exchange.

It was a house full concert.

Entertainment rating 8.75/10.

Aashna Jain (Vocal)

Attended a concert of Aashna Jain (Vocal) accompanied by Mandar Puranik (Tabla) and Siddhesh Bicholkar (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Aashna Jain (Kirana Gharana) is only 12 years old and considered a child prodigy. She hails from Mumbai. She is disciple of Pt. Achyutrao Abhyankar and Pt. Tulsidas Borkar.

Bada Khyal of the concert was evening Raag Puriya Kalyan (पूरीया कल्याण) of Marwa That (मारवा थाट). She presented bandish 'Sadarang (सदारंग)'. She displayed that she can sing in lower as well as higher octaves. She used Aakar (आकार) as well as Sargam (सरगम) for badhat (बढत).

She then presented a drut bandish 'Bahut din beete (बहु त दिन बीते)'. The ease with which she sung was amazing.

Chota Khyal of the concert was evening Raag Patdeep (पटदीप) of Kafi That (काफी थाट). Tabalji started on wrong beat. She stopped, corrected him and then continued with her singing. Audience was amazed by her understanding. She presented bandish 'Naina na mane (नैना ना मानें)'.

She then presented another Bandish 'Ajahu na aye Shyam (अजहू न आए श्याम)' composed by Agrawale Vilayat Hussain Khan 'Pranpiya'.

Ashna sang confidently and was at home on the stage. Her music sense and maturity is much more than her age. She knew what she wanted to sing, how she will sing it and executed it perfectly. Considering that she is only 12 years old Ashna is already a rising star. Audience was awestruck.

Tabla & Harmonium were good accompaniment. She proved a good match to them.

Trivia: Siddhesh, apart from being an excellent harmonium player, is also an accomplished Jaltarang player.

Entertainment rating deliberately not allocated. Ye dil mange more.

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Pt. Satyasheel Deshpande (Vocal)

Attended a concert of Pt. Satyasheel Deshpande (Vocal) accompanied by Mandar Puranik (Tabla) and Niranjan Lele (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 10th April 2016.

Satyasheel Deshpande (Gwalior & Kirana Gharana) hails from Pune. He is foremost disciple of Pt. Kumar Gandharva.

Concert started just after 12 pm. Bada Khyal of the concert was early afternoon Raag Shuddha Sarang (शुद्ध सारंग). He presented bandish 'E tapan lagi (ए तपन लागी)'. It took some time and research to decipher the words. He used Bol Taans (बोल तान) for badhat (बढत).

After this he persevered a series of short Bandishes. I could only understand one word of second bandish 'Surjanwa (सूरजनवा)'. Third bandish was 'Ab mori baat maan le (अब मोरी बात मान ले)' in drut Teen Taal (तीन ताल).

Fourth bandish was 'Kite din piya dekhe bin beete (किते दिन पिया देखे बिन बिते)' in Teen Taal (तीन ताल). Fifth bandish was Kumarji's 'Piya basera ghar aali (पिया बसेरा घर आली)'

Sixth bandish sounded like 'Ye mandi gagari (ये मांडी गगरी)', not sure if the words are correct.

Chota Khyal of the concert was Raag Dhani. He presented bandish 'Mori kar pakarat (मोरी कर पकरत)'.

Concluding bandish was  'Kan kan sur taal (कण कण सूर ताल)'. He explained the shlesh (श्लेष) on word 'Jan gayi' in this bandish (Jan gayi as in life ebbed as well as understood).

Satyasheel ji presented 8 Bandishes in one hour and half. It was a treat for music experts but for someone like me, by the time I deciphered the words and appreciated first bandish, next one was half way through. It was a learning experience for the students. Everyone in the audience liked it. One of the ladies in the audience said that the sur penetrate the heart.

Tabalji played well. Satyasheel ji had to tell him the requisite lay, a couple of times. Niranjan on Harmonium was good as usual. 

Trivia: Satyasheel is son of Pt. Vamanrao Deshpande.

Famous Marathi poet Ashok Naigaokar was present in the audience.

Entertainment rating 9/10.

Vidushi Padma Deshpande (Vocal)

Attended a concert of Vidushi Padma Deshpande (Vocal) accompanied by Mangesh Mulye (Tabla, disciple of Utd. Mohammad Ahmed Khansaheb) and Ajay Joglekar (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 9th April 2016 with Ravi.

Padma Deshpande (Kirana Gharana) hails from Pune and is disciple of Sudha Ranade, Hirabai Badodekar, Saraswatibai Rane & Vijay Karandikar.

Bada Khyal of the concert was Raag Shyam Kalyan (श्याम कल्याण). She presented bandish 'Jiyo mero laal (जियो मेरो लाल)' in Vilambit Ek taal (एक ताल). She used Aalap (आलाप) and Sargam (सरगम) for badhat (बढत) of Raag.

She then presented a Bandish 'Saiyan Tum bin (सैयाँं तुम बिन)' in drut Teen Taal. She received a big long applause.

Chota Khyal of the concert was Raag Sudha Kedar (सुधा केदार). This Raag is her own creation, dedicated to her mother Sudha Ranade. It's a mixture of Kedar (केदार) and Kalyan (कल्याण). She presented a short composition 'Nis din barso Sudha (निस दिन बरसो सुधा)' in drut Ek Taal (एक ताल).

Concert concluded with a Natya geet (नाट्य गीत) 'Karin Yadu Mani sadana (करिन यदु मनी सदना).

Needless to say Padmaji sung very well. Her singing was melodic and she had clear pronunciation. She sung like a don and conquered. She had a terrific sense of microphone.

Mangesh and Ajay both provided excellent accompaniment to such a senior artist. She appreciated both.

Entertainment rating 9.25/10.

Trivia: Padmaji is grand daughter in law of Sawai Gandharva.

Pallavi Pote (Vocal)

Attended a concert of Pallavi Pote (Vocal) accompanied by Milind Pote (Tabla, disciple of Pt. Suresh Talwalkar) and Siddhesh Bicholkar (Harmonium, disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 9th April 2016 with Ravi.

Pallavi Pote (Gwalior, Kirana & Jaipur Gharana) hails from Pune and is disciple of Pt. Madhusudan Bhave, Madhuri Oak, Vidushi Alka Deo-Marulkar, Pt. Suhas Datar & Vidushi Jayashree Patnekar.

Bada Khyal of the concert was Raag Multani (मुलतानी) of Todi That (तोडी थाट). She presented Bandish 'He Gokul ka chora (हे गोकुल का छोरा)' in Vilambit Teen taal (तीन ताल). Most part was in the higher octaves.

She then presented a short bandish in drut Teen Taal (तीन ताल) that sounded like 'More mani (मोरे मनी)'. The words were not decipherable. It was a fast composition liked by audience.

Chota Khyal of the concert was dwitiya prahar (द्वितीय प्रहर) Jod Raag Tilak Kamod (तिलक कामोद) of Khamaj That (खमाज थाट). She presented 'Sur sangat (सूर संगत)' in madhya lay Roopak (रूपक) Taal.

Concert concluded with a Krishna bhajan (कृष्ण भजन) 'Gao sab mil mangal (गाओ सब मिल मंगल)'.

Pallavi ji's voice was shaky at the beginning and audience became nervous but she recovered quickly and got back in tune. She used Aakar (आकार) for the badhat of the Raag's.

Understanding between Pallavi and Milind was outstanding. It helps being spouses. Siddhesh was applauded by artists as well as public for his Harmonium.

Duration of concert was 1 hr and attendance was @ 120.

Trivia: Pallavi is grand daughter of Pt. Ram Marathe.

Entertainment rating 8/10.

Shashwati Mandal (Vocal)

Attended a concert of Shashwati Mandal (Vocal) accompanied by Abhay Datar (Tabla - disciple of Bhai Gaytonde) and Niranjan Lele (Harmonium- disciple of Pt. Tulsidas Borkar) at 39th Sangeet Samrat Alladiyakhan music festival on 8th April 2016.

Shashwati Mandal (Gwalior Gharana) hails from Mumbai. She is disciple of Pt. Balasaheb Poonchwale, Pt. Madhup Mudgal, Vidushi Paurnima Chaudary & Gundecha brothers.

Bada Khyal of the concert was Raga Malgunji (मालगुंजी). It's said that this is a complex Raag and it belongs to Khamaj that (खमाज थाट). It was first time I heard this Raag in a live concert. She presented Bandish 'Ban mein charawat gaiyan (बन में चरावत गैयाँं)' in vilambit Teen taal (तीन ताल). Her slow and methodic rendition was excellent and was appreciated.

She then presented a Bandish 'Nirpat sabahu bach hare (निरपत सबहू बच हारे)' which is a description of Seeta swayamwar.

It was followed by Tarana (तराना) 'Dhim dhim tana dere na dhim (धीम धीम तना देरे ना धीम)'. Audience appreciated it very much. There was a big applause at the end.

She then chose to sing a very very rare Sankeerna Raag Nat Kamod (नट कामोद) considered exclusivity of Jaipur Atrauli Gharana (Not her Gharana). She chose this one because Alladiya Khan is founder of Jaipur Atrauli Gharana. Again my first time to hear this Raag live. She presented bandish 'Nevar baajo (नेवर बाजो)' very skillfully and audience, many of whom are from Jaipur Atrauli Gharana, appreciated it. My research tells me that this is the only bandish in this Raag i.e. this Raag is sustained by one bandish. Such a rare thing.

She then presented a very rare kind of Tappa called Tappa without Taal (टप्पा विना ताल) 'Miya mainu chand chala (मियाँं मैनूं छाँंड चला)' in Raag Mand (मांड). Again my first time.

She concluded the concert with Tap Bandish (टप बंदिश) of Kumar Gandharva 'O dildara aa ja re (ओ दिलदारा आजा रे)' in Raag Khamaj (खमाज). She dedicated it to him, as it was his birthday. It was very good. Again my first time for Tap bandish live.

Shashwati sung very well. She played Tanpura while singing. Her Bol-Taans (बोल तान) were particularly impressive. She also used Aakars and Sargam. Wow, she sung everything so well, audience was literally mesmerized. Audience who was tentative in the beginning became her fan by the time concert ended.

Tabalji was very good and so was the Harmonium player. However Shashwati was so good that one did not notice them.

Organizers, sensing the public mood, requested her to sing more thereby increasing the length of concert and amount of joy.

This was a very special concert. It was my first time to listen to Malgunji, Nat Kamod, Tappa without Taal & Tap Bandish live. A very rare and memorable treat indeed. It would be remembered for its exclusivity.

She came, she saw, she won is an apt description of the concert. After listening to this concert, I did not feel like listening to any other concert for rest of the day and left.

Trivia: Shashwati is grand daughter of Pt. Balabhu Umdekar.
Audience of this festival was knowledgeable (जाणकार) and clapped only when there was something special.

Entertainment rating 9.25/10.

Varsha Sohoni (Vocal)

Attended a concert of Varsha Sohoni (Vocal) accompanied by Pushkaraj Joshi (Tabla, disciple of Vishwanat Shirodkar) and Supriya Joshi (Harmonium, disciple of Seema Shirodkar) at 39th Sangeet Samrat Alladiyakhan music festival on 8th April 2016.

Varsha Sohoni (Jaipur Atrauli Gharana) hails from Mumbai. She is disciple of Kamal Tambe & Pt. Madhusudan Kanetkar.

Bada Khyal of the concert was Jod Raag Lalita Gauri (ललिता गौरी). It's a combination of Raag Lalit and Raag Gauri. She presented Bandish 'Pitam saiyan (पितम सैयाँं)'' in Vilambit Teen taal (तीन ताल). She mainly used Aakar (आकार) for the badhat (बढत) of the Raag.

Then she presented a fast composition 'Mora mana har (मोरा मन हर)'. Tabalji got to show his skill in this composition. Audience liked it.

She then presented a Tarana 'Tana dere denna denna (तन देरे देन्ना देन्ना)' in Raag Basant (बसंत). Audience generally loves Tarana and so it did.

Concert concluded with a Kajri (कजरी) 'Siya sang jhoole bagiyan mein (सीया संग झूले बगियाँंमें)' made famous by Girija Devi.

Experts in the audience felt that, of Raag Lalita Gauri, Varsha rendered Lalit part very well but had to hurry through the rendering of Gauri part due to time limitation.

Pushkaraj played Taba as required. An ideal accompaniment. Supriya's harmonium was appreciated by the singer. She played well.

Concert duration was about hour. Some more time would have been welcome.

Trivia: This years festival was dominated by vocalists. 17 out of 22 concerts were Vocal.

Entertainment rating 8/10.

Shanno Khurana (Vocal)

Attended a concert of Padmabhushan Dr. Shanno Khurana (Vocal) accompanied by Dr. Aneesh Pradhan (Tabla) and Sudhir Nayak (Harmonium) at 39th Sangeet Samrat Alladiyakhan music festival on 7th April 2016.

Shanno Khurana (Agra & Rampur-Sahaswan Gharana) hails from Delhi and is disciple of Utd. Mushtaq Husain Khan & Padmabhushan Thakur Jaideva Singh.

First Raag of the concert was a difficult Sankeerna (संकीर्ण) raag Kaushi Kanada (कौशी कानडा). This Raag can be sung in Bageshree ang (बागेश्री अंग) and Malkans ang (मालकंस अंग). She chose to sing it in Malkans ang. She presented a Bandish 'Rajan ke sirtaj (राजन  के सिरताज)'. She used sargams (सरगम) for the badhat (बढत) of Raag.

Then she presented a fast composition 'Kahe karat Mose barjori (काहे करत मोसे बरजोरी)' in drut Teen taal. There was a very big and long, deserved, applause when she concluded.

Second Raag of the concert was another Sankeerna (संकीर्ण) raag Sawni Bihag (सावनी बिहाग). First Bandish was 'Akal sab Jane (अकल सब जानें)' in Jhap taal. This composition gave a lot of joy to the performers and audience.

Then she presented a Bandish in Teen taal 'Nad ved aparampar (नाद वेद अपरंपार)'. It was her own composition. This composition and her presentation was so good that it still lingers in the mind even a day after the concert.

Then she presented a composition 'Mai ni Mora (माई नी मोरा)' composed by Utd. Mushtaq Hussein Khan, her Guru, of Rampur-Sahaswan Gharana.

Final presentation of the concert was a Tappa (टप्पा) in Raag Bhairavi. 'Aa ja gale lag ja (आ जा गले लग जा)' in Teen taal. It ended with Tarana and big applause.

This beautiful grand old lady captured the audience right from the beginning. She retained their interest and piqued it at the correct time. She was liked by the audience and she liked the audience in turn. Had there been time she was ready to sing even more. But it was already late and organizers indicated a closure.

Aneesh ji is one of the topTabalji in India. He is also a doctorate and had written book on Tabla. He played well and everyone liked it.

Sudhir ji's Harmonium was as usual excellent and he was appreciated by the singer. His understanding and excellent synchronization with Anish ji was evident. This pair always works wonders.

Sawal-Jawab between singer, Tabla and Harmonium were very pleasant. Audience applauded them again and again. It was the highlight of the concert.

Trivia: Organizers announced that Shanno ji, who is such a week known singer, was singing in Mumbai for the first time.

A beautiful and engrossing concert.

Entertainment rating 9.25/10.

Parmeshwar Hegde (Vocal)

Attended a concert of Pt. Parmeshwar Hegde (Vocal) accompanied by Pt. Sadanand Nayampalli (Tabla - Farrukabad Gharana) and Sudhir Nayak (Harmonium - P.Madhukar Gharana) at 39th Sangeet Samrat Alladiyakhan music festival on 7th April 2016.

Parmeshwar Hegde (Kirana, Gwalior and Patiyala Gharana) hails from Bengaluru and is disciple of Pt. Basavaraj Rajguru.

First Raag of the concert was Raag Bihag (बिहाग). He went directly to bandish 'Kaise sukha sove (कैसे सुख सोवे)', with minimum aalap, in Vilambit Ektaal. Tabla instrument had some trouble and had to be tuned repeatedly. I especially liked his delicate taar swar (तार स्वर). It was followed by Tarana 'Ta da re dhim (त दा रे धीम)'.

He presented famous Bandish 'Binati suno mori (बिनती सुनो मोरी)'. Although he did not announce the Raag, it was Raag Bageshri (बागेश्री). His Taans (तान) and Aakars (आकार) were very good. He followed it with 'Sargam (सरगम)'.

Concert concluded with another composition in Raag Bageshri (बागेश्री) in Teen taal (तीन ताल);  'Badra tu ja (बदरा तु जा)'.

Pt. Nayampalli played subdued Tabla in supporting role. He did not smile even once during the concert.

Harmonium of Sudhir Nayak was excellent and was appreciated by audience and artist alike. Too good.

Concert lasted for about 1 hr 10 min.

Entertainment rating 8/10.

Saylee Talwalkar (Vocal)

Attended a concert of Saylee Talwalkar (Vocal) accompanied by Satyajit Talwalkar (Tabla) & Subodh Godbole (Harmonium) organized by Anubhooti at Embassy of India auditorium, Abu Dhabi, on 18th Mar 2016. Attendance to the concert was @90.

Saylee is disciple of Mrs. Usha Deshpande, Mrs. Arti Anklikar-Tikekar and Pandita Padma Talwalkar. She is daughter-in-law of Pt. Suresh Talwalkar and Pta. Padma Talwalkar and wife of Tabla maestro Satyajit Talwalkar.

Concert started with Raag Bheempalasi (भीमपलासी). She presented Bada Khyal in Vilambit Ek taal (एक ताल) 'Ab to badi ber (अब तो बडी बेर)'. Her Aalap were applauded. It was followed by famous bandish 'Biraj mein dhoom machayo Shyam (बिरजमें धूम मचायो श्याम)' in Drut Teen taal and audience liked it. Audience also applauded Satyajit for his Tabla. Then she presented Tarana (तराना). Audience especially liked it and applauded her frequently.

She then presented Chota Khyal in Raag Saraswati (सरस्वती) from Carnatic music. She sung famous bandish 'Sajan bin kaise (सजन बिन कैसे)' composed by Pt. Jitendra Abhisheki and transposed seamlessly in 'Vikal mana aaj zurat asahay (विकल मन आज झुरत असहाय)', a Natya geet a (नाट्य गीत) in same tune.

In the second half she presented a Nirguni bhajan (निर्गुणी भजन) 'Mhare ghar aao ji (म्हारे घर आओ जी)' that ended in a very big applause.

Next she presented a Marathi Abhang (अभंग), originally sung by Gaan Saraswati Kishori Amonkar, 'Bolawa Vittal (बोलावा विठ्ठल)' and seeped the audience in Bhakti Ras (भक्ति रस). Audience joined her by clapping in rhythm for the Nam Gajar towards the end and she liked it.

She then wanted to present last composition but audience egged her for one more. So she boldly chose to sing an off the track form of music called Gawlan (गवळण), 'Sawla Nandacha (सावळा नंदाचा)'. It was a folk song based on Raag Vrindavani Sarang (वृंदावनी सारंग), originally sung by her Guru Arti Anklikar and composed by Achyut Thakur.

Concert concluded with Bhairavi (भैरवी), 'Sun Yashoda (सुन यशोदा)'. Saylee became emotional while thanking everyone before starting Bhairavi.

Saylee offered a lot of variety with Bada Khyal, Chota Khyal, Bhajan, Abhang, Gawlan and Bhairavi. She addressed the taste of all the audience. Audience liked the variety. She sung well and sometimes sung at her limit without going out of tune.

Satyajit is one of the best Tabla player of India and it was for all to see why he is so highly rated. He was too good.

Subodh followed Saylee religiously and showed his skills in the light music section.

Sounds system was good. Some more illumination on stage would have been welcome.

Trivia: Saylee and Satyajit are husband and wife but interestingly, this was their first ever concert together.

Entertainment rating 8.5/10.

Disclosure: I am a founder member of Anubhooti.

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

Jogiraj Sikidar (Vocal)

Attended a concert of Jogiraj Sikidar (Vocal) accompanied by Nandkishor Banchhode (Tabla), Shashwath Sunilkumar (Harmonium) and Shreekutty & Meenu  (Tanpura) organized by Anubhooti at Embassy of India auditorium, Abu Dhabi, on 29th Jan 2016. Attendance to the concert was about 100.

Concert started with Raag Yaman. He first presented 'Salona mora saiyan (सलोना मोरा सैयाॅं)' in vilambit Ektal (विलंबित एकताल). He displayed fine lower octave singing.
It was followed by 'Eri hari piya bina (एरी हारी पिया बिना)' in drut Teen taal.

He then presented a madhyalay bandish 'Kanha re Nand nandan (कान्हा रे नंद नंदन)' in Raag Kedar.

Then he presented a Thumri 'Ab ke sawan ghar aaja (अब के सावन घर आजा)' in Mishra Desh and Tilak Kamod in Banaras Gharana style.

He then presented a Gazal (गजल) 'Tere karib aake (तेरे करीब आके)' in Raag Nand (नंद).

Concert concluded with Kabir's Bhajan (भजन) 'Mat kar moh tu (मत कर मोह तू)' in Raag Bhairavi (भैरवी).

Jogiji humbly requested for audience's permission to start the concert. He made good use of aalap and tarana. He is a very fine singer and probably deserves more recognition than he gets. He displayed variety in the alap, tarana, lower and higher octaves and a blend of Gharana. The way he was encouraging the accompanists underlined the fact that he is a very good teacher too.

Shashwat has lightning fast fingers and demonstrated his understanding of the mood of concert. He was applauded by the audience.

Nandu started slow but picked up as the concert progressed and came at par. His Tabla play with harmonium was applauded.

Tanpura artists needed prodding by Jogiji for vocal accompaniment.

Sounds system was optimum however more gain was needed for Tabla.

Entertainment rating 9/10.

Disclosure: I am a founder member of Anubhooti.

Ulhas Kashalkar (Vocal)

Attended a concert of Pt. Ulhas Kashalkar (Vocal) accompanied by Taalyogi Pt. Suresh Talwalkar (Tabla) & Sudheer Nayak (Samwadini) on 12th Dec 2015 at Sawai Gandharva Bhimsen Mahotsav, Pune with Alhad kaka.

Ulhasji has received training in the Gwalior, Jaipur and Agra gharanas and blends style of these khayal gharanas. He is a disciple of Pt. Ram Marathe and Gajananbuva Joshi.

Ulhasji started the concert with raag 'Jog Kauns (जोग कंस)'. He presented what sounded like 'Sugar barava ayo re (सुगर बरवा आयो रे)' followed by 'Peed parayi (पीड पराई)'. He sung for about 40 minutes and showed his class in this limited time.

Second presentation was a Bandish 'Aai re kaise raat (आई रे कैसे रात)' in Raag Adana (आडाणा). He sung for only about 7-10 min.

Concert ended with the famous Bhairavi 'Jamuna ke teer (जमुनाके तीर)' upon farmaish by Sureshji that lasted for about 7-10 minutes.

It's known that Ulhasji is a very good singer. He is considered point of reference by many contemporary and junior singers. He acts what he sings, making it easy to understand.

Pt. Suresh Talwalkar is considered encyclopedia of taal. His books are considered Tabla gospel and his Tabla tuitions are considered one of the best. To see him perform was an opportunity of life time.

Sudheerji is an excellent harmonium player. He enhances the singers performance by his understanding and complimenting them with his 'singing' harmonium.

A lot of time was lost in changing the stage arrangement for previous Kathak concert and back again for this concert. The concert had to be wrapped up in one hour because of municipal restrictions to finish all programs by 10 pm. By the time performers and audience had warmed up, it was time to finish. What a shame. Either the time restrictions should be relaxed or time management has to be better.

Trivia - Sawai Gandharva festival is arguably the largest festival of classical music in the world. Attendance this year was around 15000.

Entertainment rating not allotted because of time restrictions.

Ragunandan Panshikar (Vocal)

Attended a concert of Ragunandan Panshikar (Vocal) accompanied by Tanmay Deochake (Samwadini), Prashant Pandav (Tabla) on 12th Dec 2015 at Sawai Gandharva Bhimsen Mahotsav, Pune with Makarand, Shilpa, Alhad kaka, Dilip Kaka and Vinita kaku.

Ragunandan Panshikar is a vocalist from Jaipur-Atrauli gharana. He is the son of the eminent Marathi stage actor Prabhakar Panshikar and a disciple of Gaan Saraswati Smt. Kishori Amonkar and late Gaan Tapaswini Smt. Mogubai Kurdikar.

Concert started with Raag Bhup (भूप). He presented 'Pratham sur saje (प्रथम सुर साजे)' in vilambit tritaal. As the raag progressed the beats became 1.25 and 1.5 times faster.

Then he moved seamlessly without break into the famous bandish (बंदिश) made famous by his Guru Kishoriji 'Sehela re aa mil ja re (सहेला रे आ मिल जा रे)'. Audience applauded the transition and start of bandish spontaneously.

He then asked audience for farmaish for concluding item. Audience demanded bhajan (भजन). He willingly fulfilled the request by inviting Mauli Talwalkar (A regular accompanist of Bhimsenji). The abhang e presented was 'Padmanabha Narayana (पद्मनाभा नारायणा)'.

Raghunandanji sung very well. His Aalap and taan (तान) were very good. He resisted the temptation of drut singing. It was my first time hear him and I would not mind another opportunity.

Prashant and Tanmay are well known names in classical music circles and they played to their reputation.

Trivia - The pendal constructed for the festival had an area of 90,000 sq ft. Being open air, the sound system was very good.

Entertainment rating 8.5/10.

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

Musical trilogy - Girish Pande (Vocal), Parag Dhadphale (Tabla) & Dharitree Joshi (Vocal)

Attended a concert of Girish Pande (Vocal), Parag Dhadphale (Tabla) & Dharitree Joshi (Vocal) titled 'Musical trilogy'; accompanied by Meghan Shrikhande (Harmonium) & Somdatta Basu (Harmonium) on 6th Nov 2015 at Nando's restaurant hall, Dubai with Nandu, Jayant, Vivek and Satya. The concert was organized by Sur Hindol.

Concert started with Girish Pande's vocal accompanied by Parag Dhadphale and Meghan Shrikhande. He presented 'Akhiyan taras rahi' in Raag Maru Bihag (मारू बिहाग). During Aalap, the instrument volume was masking the vocal. Then he presented bada khyal 'Mora man mane na'. He concluded his section with 'Re balamwa mora' in Raag Kalawati (कलावती) followed by Marathi song 'Pratham tuj pahata'. Public demanded another song and he complied by presenting bhajan 'Ram ka gungan kariye'.

Girish sung technically correct. His Aalaps were especially good. However to me he appeared a little bit subdued. Was it because he was extra cautious or was it because of performance jitters? He appeared more at home in last two compositions. I know that he can sing even better.

Parag Dhadphale presented solo Tabla in second section. Somdatta Basu was on harmonium. He displayed humility by attributing all that would be good to his Guru and all that would be wrong to himself. His first presentation was 'Teen taal (तीन ताल)'. While audience anticipated every time, he took his own sweet time to come on sum (सम) initially. Then he played a traditional Kayda (कायदा) of Delhi gharana (दिल्ली घराना) bestowed by his Guru Pt Suresh Samant and another Kayda of Delhi guarana composed by his Guru Sudheer Mainkar. Then he presented a very old, sweet and complicated Kayda, a Rachana of Panditji followed by three compositions non stop and mesmerized the audience. Then he presented a composition that could be a fight between school kids followed by a composition of Samta Prasadji. Next he presented a Rachana (रचना) from Punjab, a few tukdas and farmaish chakradar, a novelty. He concluded with a seven matra composition from Banaras.

Parag is a well known name in Dubai and he played to his reputation of being one of the best Tabalji in Dubai. He played excellent tabla and was applauded many times. It was a joy.

Dharitree Joshi-Bapat was the performer of final session. She started the concert, expressing her respect to Guru, with Raag Bageshree (बागेश्री) in Jhumra taal. She presented Khyal (ख्याल) 'Dhoondh rahe naina' followed by drut 'Sumaran karat rahat nisadin' and tarana. Then she presented 'Kaise kaise bolat' in Raag Nat Bihag (नट बिहाग), a speciality of Agra gharana, followed by 'Jhanjhan jhanjhan payal baje'. Her next item was 'Hori hori hori khelat Nandlal', a Chatrang (चतरंग) in Adana.

Due to public demand program concluded with a natyageet 'Guntata hriday he' by Meghan Shrikhande. Although he sung well, it was out of sync with the theme of the concert. He was reluctant for this very reason but eventually complied.

Parag, Somdatta and Meghan were very good as accompanists. They did not try to outdo the main artists but demonstrated their skills and were appreciated by the singers and audience.

It was a small audience, sound system behaved, temperature was a bit high. With three performers, it was essential to have proper time management. This was not controlled and the concert became too long. Spectators started to leave in the third session. I too had to leave before formal closure.

Entertainment rating 6.5/10 but considering that the artists were local it should be upgraded to 7.5/10.

Devaki Pandit (Vocal)

Attended concert of Vidushi Devaki Pandit (Vocal) accompanied by Sudhir Nayak (Samwadini), Girish Nalawade (Tabla) & Manisha Joshi (Tanpura) 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'.

Concert started with early morning Raag Yamani Bilawal (यमनी बिलावल). Never heard this raag earlier. She presented composition 'Prem galiyan mein (प्रेम गलियन् में)' in Rupak taal.

Then she presented bandish 'Mangal gao (मंगल गाओ)' composed by Pt. Babanrao Haldankar in Raag Alhaiya Bilawal (अलहैया बिलावल) and in Tritaal.

Then she presented Raag Hindol Pancham (हिंदोळ पंचम) in Jhaptal and later presented a tarana (तराना) also composed by Pt. Bananrao Haldankar in Tritaal.

Upon request of organizers she finally presented a Bhajan 'Kitak din Hari sumiran bin (कितक दिन हरी सुमिरन बिन)' of Pt. Jitendra Abhisheki in Raag Charukeshi.

Devakiji demonstrated mastery over the entire range of swars. She knew exactly which swar she wanted to go to and reached there effortlessly while demonstrating the minute details. She was in complete command of every swar. Amazing!

I would like to attend a more concerts of Devkiji. Previously I had heard her sing light music, this was the first time for classical. She was too good.

Sudhirji was appreciated by Devakiji and the audience regularly. He was too good. Tabla played only a supporting role.

There was noise in the sound system on a few occasions breaking the concentration of artists and audience.

The duration of concert was about 1.5 hr minutes. It was a full house of 400+.

An excellent concert. Entertainment rating 9.25/10.

Raja Miya (Vocal)

Attended concert of Ustad Raja Miya aka Gulam Husnain Khan (Vocal) accompanied by Siddhesh Bicholkar (Samwadini), Yati Bhagwat (Tabla), Naved Khan (his son) & Madhuri Sharma (Tanpura) on 4th Apr 2015 in Chembur, Mumbai. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Jayjaywanti (जयजयवंती). In keeping with tradition of Agra gharana he first sung nom-tom (नोम तोम) Aalap then a Vilambit bandish followed by a Drut bandish 'More mandirwa Milo (मोरे मंदिरवा मिलो)'.

Then he presented Raag Nat Bihag (नट बिहाग), a bandish 'Jhan jhan jhan jhan payal (झन् झन् झन् झन् पायल)' in Teen taal.

Upon farmaish (फर्माईश) he presented a Bandish of his Guru 'Sapaneme darasa dikha (सपनेनें दरस दिखा)'.

Finally he presented a Dadra in Bhairavi 'Banao batiya chalo (बनाओ बतिया चलो)' to conclude the concert.

Raja Miya sings very well in Agra gharana's forceful style. I had never heard his name earlier, but liked his singing. I went to the concert without much expectations but was pleasantly surprised. However his voice deteriorated in Bhairavi.

Siddhesh Played very good Harmonium. Ustadji had to tell tabalji multiple times what beat he wants.

The duration of concert was about 1 hr 10 minutes. Attendance was at the start of concert was @ 150 but it dwindled as the concert progressed. I think it was because of timing (it was getting late), not the singer.

A good concert. Entertainment rating 8/10.

Dr. Monica Shah (Vocal)

Attended concert of Dr. Monica Shah (Vocal) accompanied by Niranjan Lele (Samwadini), Bhushan Parchure (Tabla), Sneha Gosawi & Darshana Purohit (Tanpura) on 4th Apr 2015 in Chembur, Mumbai. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Puriya Dhanashree (पुरीया धनश्री). She sung two compositions. First was 'Dagari laga (डगरी लगा), not sure of lyrics. She built the bandish note by note as if she had all the time in the world, without hurrying. Second composition was 'Panaghatwa jane na paun (पनघटवा जाने ना पाऊँ)' in madhyalay teen taal. Surprisingly audience did not clap at the end of first bandish, but rectified it at the end of second bandish.

Then she presented Raag Kirwani (किरवाणी). She sung a bandish of her guru Pandit Rasiklal Andharia (पं. रसिकलाल अंधारीया), 'Tore bin mohe chain nahi brij ke Nandlala (तोरे बिन मोहे चैन नहीं ब्रिजके नंदलाला).

She ended the concert with a Chaiti (चैती) of her guru Girijadevi 'Chait mas bole re koyaliya (चैत मास बोलेरे कोयलिया)'. I had never heard Chaiti live previously. It was good.

It was the first time I heard name of Dr. Monica Shah. She sung well and was well prepared. To my untrained ears, it appeared that while singing in upper octaves, she sings in falseto.

Accompanying artists were good. I think tabalji missed a beat once. Harmonium was good.

Audience was miser while applauding. Probably they expected more. The duration of concert was about 1 hr 10 minutes. Attendance was @ 125.

An OK concert. Entertainment rating 7/10.

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

Gauri Pathare (Vocal)

Attended concert of Gauri Pathare (Vocal) accompanied by Siddhesh Bicholkar (Samwadini) & Yati Bhagwat (Tabla) on 4th Apr 2015 in Chembur, Mumbai. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with Raag Nand (नंद). Raag Nand is speciality of Jaipur Gharana (जयपूर घराना). First she sung khyal and followed it with a drut bandish 'Dhan dhan bhag Nand ko (धन धन भाग नंद को)'. Her students provided the chorus for bandish.

Then she presented Raag Gaud Malhar (गौड मल्हार), a traditional bandish (पारंपारीक बंदिश) 'Kari Kari badara barase (कारी कारी बदरा बरसे).

Finally she presented very famous composition of Pt. Jitendra Abhisheki 'He surano Chandra wha (हे सुरांनो चंद्र व्हा)'. Audience applauded as soon as she started.

Both Siddhesh and Yati are young artists. Siddhesh plays extremely well. He was too good in drawing applause from audience and artists alike. Yati also plays well, but sometimes he was a bit tentative. Two of Gauriji's disciples (Miss Damle & Miss Deshpande) accompanied with Tanpura.

Gauriji sung well. She displayed authority in singing bandishes and was humble. She gave credit of her singing to the Gurus and said that mistakes, if any, were hers.

The duration of concert was about 1 hr 10 minutes. Since the concert was scheduled at 4.30 pm, the attendance was on lower side of @ 125 in the beginning but increased later on.

Sound system was OK and did not trouble the artists. Today there were mosquitos in the auditorium but the number reduced as the audience started clapping.

A good concert. Entertainment rating 8/10.