Zakir Hussain (Tabla) and Niladri Kumar (Sitar)

Attended a concert titled 'Upaj (उपज)' of Ustaad Zakir Hussain (Tabla) and Niladri Kumar (Sitar) on 10th Dec 2015 at Shanmukhananda Auditorium, Sion, Mumbai; with Ravikiran.

Concert started with Raag Shuddha Kalyan (शुद्ध कल्याण). Niladri played amazing Sitar especially in Aalap. He played the raag for one hour. Even Zakirji clapped at the end of this raag.

Artists indicated interval, but audience urged them not to take one. So the concert continued, though some of the audience decided to take their own interval.

After this pseudo interval Niladri played a beautiful raag. He did not tell the name and I could not recognize it. But it was very sweet nevertheless. He played for about half an hour. They played amazing jugalbandi and followed it up with Sawal Jawab and ended with a crescendo with thunderous applause.

Third composition was also a very good composition. Again he did not tell the name of raag and I could not recognize it. However we enjoyed it very much.

Concert ended with a Dhun (धुन) in Bhairavi (भैरवी). Audience enjoyed it as it was a known tune. During this Zakirji drummed directly on the mic to create rhythm. He also played bedam Chakradhar on Tabla. Dhun and concert ended with a long applause and standing ovation.

Niladri extracted and extruded notes from Sitar with minuscule movement of fingers. Some were so deep and in lower octave that I did not know they existed. Sometimes audience started to clap even before Niladri finished his minute variations and he had to tell them to wait till he had finished.

Zakirji, being the living legend he is, played a conventional accompanist. He stole his moments of glory but did not try to overshadow Niladri. A commendable restraint. His Tabla playing is legendary. Each bol was crystal clear, whatever the playing speed. He breaths rhythm.

Both artists had a very good understanding and enjoyed playing together. When artists enjoy, so does the audience. Both of them have lighting fast fingers.

Organizers had discouraged audience from using camera but the official cameraman was snapping photos merrily with flash disturbing the artists.

Concert started half an hour late but audience was still pouring in after that. Most of the audience was not dardi (दर्दी). Some times they disturbed performers by moving around and sometimes clapping to early.

It was a fantabulous concert and pure bliss. Niladri has a great future. Zakirji is Zakirji.

Entertainment rating 9.75/10.

Pankaj Udhas (Vocal)

Attended a concert of Pankaj Udhas (Vocal) accompanied by Vishal Dhumal (Keyboard), Nirmal Pawar (Dholak), Rashid Mustafa Thirakwa (Tabla), Nasir Sajjad Hussain (Mendolin), Rajendra Singh (Violin), Ninad Gulalkar (Flute) on 3rd Nov 2015 at World Trade center, DUBAI with Sameer, Pooja and my father.

Concert started with 'Aap jinke karib hote hai (आप जिनके करीब होते है)' followed by 'Niklo na benaqab jamana kharab hai (निकलो ना बेनकाब जमाना खराब है), Deewaronse milkar rona accha lagta hai (दीवारोंसे मिलकर रोना अच्छा लगता है), 'Sabko maloom hai mai sharabi nahi (सबको मालूम है मैं शराबी नहीं)', a Gazal of Anwar Farukhabadi. He informed audience that he has done some experimentation with this gazal by adding a kata (कता) with every sher (शेर).

He presented a very meaningful Najm (नज्म) of Zafar Gorakhpuri 'Ek wo bhi that jamana, Ek ye bhi hai jamana (एक वो भी था जमाना, एक ये भी है जमाना) & followed it with Aur ahista kijiye batein (और आहिस्ता किजीए बाते), 'Thodi Thodi piya karo (थोडी थोडी पिया करो). Then he presented one of his most famous gazal 'Chandi jaisa rang hai Tera (चाॅंदी जैसा रंग है तेरा)' amidst big applause from audience. This was interval.

First song after interval was 'La pila de sakia (ला पिला दे साकिया)' followed by Jiye to Jiye kaise (जिए तो जिए कैसे)' from movie Saajan, then he presented what is probably his most famous song 'Chitthi aai hai (चिठ्ठी आई है)' on public demand. Another farmaish was 'Tum kitni sundar ho (तुम कितनी सुंदर हो)'.

He then presented the medley of various farmaishes. 'Dil deta hai ro ro duhai (दिल देता है रो रो दुहाई)', 'Aaiye barishon ka mausam hai (आईए बारिषों का मौसम है)', 'Sharab cheez aisi hai (शराब चीजही ऐसी है)', 'Aj fir tumpe pyar aya hai (आज फिर तुमपे प्यार आया है)', Ai game jindagi kuch to de mashwara (ऐ गमें जिंदगी कुछ तो दे मशवरा) and ended the medley and concert with his famous 'Ke ghungroo tut gaye (के घुंगरू टूट गए)'.

Pankaj Udhas sung some pre determined songs, some he sung upon farmaish and also sung medley. Needless to say he was too good. What was better was that he helped audience enjoy by explaining difficult Urdu words, drawing their attention to maqta (मक्ता), emphasizing important words etc.

When one sings Gazal, the wording is very important and the way they are put forth to reach the heart of audience make them golden. Pankajji does it deftly.

It was a big troupe of musicians. All musicians were good and shone when their opportunity came. Tabalji was given a little too much leeway.

Sound system was good. I would have preferred the volume of instruments a notch lower as it sometimes masked the minute variations of vocals.

Lighting on stage was good. With so many artists focus light was used effectively for audience to concentrate on the correct artist. However lighting on audience was bad. During the program glaring light was thrown on the audience for no apparent reason. It was irritating and also prevented taking good photographs.

Auditorium was good. It was a large auditorium but all seats were at same level making it difficult for audience in rows behind to see clearly. Gazal requires cozy atmosphere. That was missing due to the large size of auditorium. Organizers had the foresight of arranging drinks at the concert. Gazal and Jam (जाम) always go hand in hand.

Entertainment rating 8.5/10.

Anand Bhate (Vocal)

Attended 'Diwali sandhya', a concert of Anand Bhate (Vocal) accompanied by Bharat Kamath (Tabla), Suyog Kundalkar (Harmonium) & Rajesh Damle (Narration) on 13th Nov 2015 at Indian Islamic center, Abu Dhabi with friends and family. The concert was organized by Maharashtra mandal, Abu Dhabi (MMAD). This concert was a tribute to Narayan Rajhans aka Balgandharv (बालगंधर्व) and Pt. Bhimsen Joshi (पं. भीमसेन जोशी).

First part of the concert was dedicated to Balgandharv (बालगंधर्व). Concert started with famous nandi (नांदी) 'Panch tunda nara runda mala dhar (पंच तुंड नर रुंड माळ धर)' followed by natyageet 'Ya nava naval nayanotsava (या नव नवल नयनोत्सवा)'. This section concluded with 'Vad jau kunala sharan (वद जाऊ कुणालाकुणाला शरण)' from play Sangeet Saubhadra.

Second part of the concert was dedicated to Bhimsenji. He started with 'Ramya hi swargahun Lanka (रम्य ही स्वर्गाहुन लंका)' from movie 'Seeta swayamwar' which has a classical base. Next was famous Bhavgeet  'Sakhi mand zalya taraka (सखी मंद झाल्या तारका)' written by Sudheer Moghe. This was a rare song as the more famous version is sung by Sudheer Phadke. Here he agreed for a 'once more' demand.

Next song type was abhang. There are so many that it's difficult to choose, hence he concluded the concert with a medley of abhang (अभंग श्रृंखला) that included Indrayani kathi (इंद्रायणी काठी), Maze maher pandhari (माझे माहेर पंढरी). He ended the medley with 'Chinmaya sakal hridaya (सचिनच्या सकल ह्रदया)' of Balgandharv which drew applause the moment he started it.

Anandji is an excellent singer. He sung all the songs well and made difficult ones look simple. It was evident why he is called Anand gandharv. The firat (फिरत) in his  voice is amazing. He also presented Gandharv gayki and was applauded by audience as well as musicians many times. However, I would have liked to hear a couple of songs in lower scale as well.

Musicians are well known names and were obviously good. Narrator had little scope due to shortage of time, but he made a good impression.

Audience demand of 'once more' was mostly ignored. It appeared that this was because lack of time. This concert formed part of overall program which also included some comedy items. That left little time for the concert.

Sound system was bad. Acoustics were also not good. The words, when spoken or sung fast, were garbled. The sound also echoed thereby making the experience less enjoyable and irritating the rasiks. Such concerts should be arranged in better auditoriums.

MMAD did a good job of organizing the concert. This hall does not have fixed chairs. The committee members did a good job of organizing the chairs, numbering them and making the program successful.

Audience was unsatisfied at the end. This was not because of the quality of the concert but because of lack of enough time. They found it curtailed. Audience left with a feeling of 'Ye dil mange more (ये दिल माँगे मोर)'.

Entertainment rating 8.5/10.

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.

Marathi bana (मराठी बाणा)' by Ashok Hande

Attended dance & music program titled 'Marathi bana (मराठी बाणा)' presented by Chaturang, written directed and anchored by Ashok Hande on 4th Oct 2015 at Vishnudas Bhave natyagruha, Vashi with Ravi and Akshata. This was the 1701st show of the program. It was a thematic program that displayed the cultural heritage of Maharashtra.

Program initiated with start of the day in a village with bhupali (भूपाळी) 'Uthi Uthi Gopala (उठी उठी गोपाळा)' followed by 'Vasudevachi swari (वासुदेवाची स्वारी)', Abhang (अभंग) 'Rup pahata lochani (रुप पाहता लोचनी)' then it moved to the songs sung in the fields or Shetawarchi gani (शेतावरची गाणी) 'Jiwacha maitar Dhavlya n Pawlya (जीवाचा मैतर ढवळ्या न् पवळ्या)', 'Chal gadi Dada bhale re (चल गडी दादा भलं रं)', 'Sumbarane mandle ga (सुंबरानं मांडलं गा)'. All this while dancers depicted various activities that take place in the village and fields like milking cows, making buttermilk, grinding cereals, watering plants, prayers, works in the field, tilling, cutting etc. The stage was full of activities.

The theme then moved from village to forest with the forest dwellers or adivasis (आदिवासी) and their songs ''Gorya deha warati kanti (गोऱ्या देहावरती कांती)', 'Gadad jambhle bharle abhal (गडद जांभळं भरलं आभाळ)', 'Amhi Thakar thakar (आम्ही ठाकरं ठाकरं)' and ' Lingobacha dongur abhali gela (लिंगोबाचा डोंगुर आभाळी गेला)'. The dances in this section were very energetic and well choreographed. The last one received a 'once more' demand that was promptly fulfilled.

This was followed by 'Malyachya malyamandi (माळ्याच्या मळ्यामंदी)', 'Shet bagha alaya rakhnila (शेत बघा आलंया राखणीला)' and then the theme moved to Konkan with a medley of 'Gomu maherla jate ho nakhwa (गोमू माहेरला जातेहो नाखवा)', 'Ekwira aai tu dongrawari (एकवीरा आई तू डोंगरावरी)', 'Walhaw re nakhwa ho (वल्हव रे नाखवा हो)', 'Mi hai koli (मी हाय कोली)', 'Kashi zokat chl'li kolyachi por (कशी झोकात चालली कोल्याची पोर)' and 'June waris gele re (जुनं वरीस गेलं रं)'.

Mood then changed to bhaktiras with 'Bolawa Vitthal, pahawa Vitthal (बोलावा विठ्ठल, पहावा विठ्ठल)'. The singer displayed full range of his musical armoury and left the audience spellbound. Then came a Gawlan 'Nesle Ga bai Chandrakala thipkyachi (नेसलेगं बाई चंद्रकळा ठिपक्याची)'.

Then they presented a prose section of parody with a man dressed as lady and presented a Bharud (भारुड) 'Tula burgunda hoil (तुला बुरगुंडा होईल)'. In this prose section they presented comments on the current affairs, movies, TV serials, politics and culture. They even sang a stanza of 'Shantabai (शांताबाई)', a song that has gone viral this year in Ganapati. Although audience liked the section it slowed down the build up of songs and dances and the tempo of the program. They could have done away with it.

Festival songs were next with 'Govinda re Gopala (गोविंदा रे गोपाळा)' where they created a Dahihandi (दहीहंडी) with three layers of men, 'Sukhakarta dukh harta (सुखकर्ता दु:खहर्ता)' of Ganapati, 'Gana dhaw re mala paw re (गना धाव रं, मला पाव रं)', and 'Lakh Lakh chanderi tejachi (लख लख चंदेरी तेजाची)' where the dancers danced in the dark with lamps in hands creating beautiful formations. Audience applauded them wholeheartedly. That was the time for interval.

After the interval someone whistled from audience at the wrong time. Anchor Ashok Hande was agitated and lost his temper and then forgot his dialogue. An artist of his statute losing temper like and threatening the person was the black mark on the program.

First item after interval was a medley of marriage related songs like 'Pratham tuj pahata (प्रथम तुज पाहता)', 'Kay bai sangu (काय बाई सांगु)', 'Lagin Maze tharle (लगीन माझं ठरलं)', 'Zala sakharpuda (झाला साखरपुडा)', 'Ya go dandyawar (या गो दांड्यावर)'. The bridegroom and his warat (वरात) entered from audience for this song and gave the audience a new high. It continued with 'Runzun wajantri wajati (रुणझुण वाजंत्री वाजती)', 'Saptapadi he (सप्तपदी हे)' and 'Ganga Yamuna Dolyat ubhya ka (गंगा यमुना डोळ्यात उभ्या का)'. All this while marriage took place on the stage complete with bride's sendoff (पाठवणी).

Medley of post marriage events was next with Manglagaur (मंगळगौर) 'Ghagar ghumu de (घागर घुमूदे)', 'Pori pinga ga pori pinga (पोरी पिंगा गं पोरी पिंगा)', 'Ailoma pailoma (ऐलोमा पैलोमा)' and 'Fu bai fu (फू बाई फू)'. All this while respective dance items were performed.

The next theme was Village fair or Jatra (जत्रा). 'Jiva shivachi bail jod (जीवा शिवाची बैल जोडं)' and 'Bandobast kela mhanun evdha (बंदोबस्त केला म्हणून एवढा)'. When there is Jatra, there is Tamasha (तमाशा). They presented three lavni's (लावण्या) with 'Piklya panacha deth ki ho hirwa (पिकल्या पानाचा देठ की हो हिरवा)' where the dancer presented an excellent solo dance. She was wearing fake ghungroo but had she been wearing real ones she would not have struck any sore note. 'Padala piklay amba (पाडाला पिकलाय अंबा)' and 'Kheltana rang bai holicha (खेळताना रंग बाई होळीचा)' completed the trio. 'Once more' demand for later was also promptly met.

Next item was a medley of songs of various kuldaivat's (कुल दैवतं) of Maharashtra. 'Pahile naman (पहिलं नमन)', 'Ganapati ala n nachun gela (गणपती आला न नाचुन गेला)', 'Jejurichya khanderaya (जेजुरीच्या खंडेराया)', 'Amhi Ambeche gondhali (आम्ही अंबेचे गोंधळी)' - a gondhal (गोंधळ), 'Udhe ga ambe udhe (उधे गं अंबे उधे)', 'Jogwa de (जोगवा दे)' and 'Mahishasur mardini (महिशषासूर मर्दिनी)'. The dance poise to end this was very good.

Program ended explaining status of Marathi identity as 'Andhala martoy dola (अंधळा मारतोय डोळा)' and invocation to Shivaji to come back to resurrect Marathi bana 'Marathi paul padte pudhe (मराठी पाऊल पडते पुढे)'.

They displayed the all the song and dance repertoire of Maharashtra from bhupali, Shetawarch gani, Abhang, Festival songs, Vasudevachi, Gondhal, Powada, Bharud, Jogwa, Bhavgeet, Samargeet, Gan, Gawlan to Lawni. This was covered with traditional songs as well as film songs.

All the musicians, singers and dancers were on the stage. It limited the space available for the dancers. But dancers used every inch of the stage effectively and did not collide with anything or anyone despite such energetic dances. Full marks to the choreography, difficult moves and very high energy level. Wow!

Singers were very good. All singers, except one, were in tune and while watching dances one forgot that this is not a recorded song but a live one. However some singers were conversing with each other in the background which avoidable. All female singers wore six meter (सहावारी) sari, some with 9 meter (नऊवारी) sari would have been welcome.

Musicians were also good. They even used acoustic guitar and electric guitar in the ensemble. Guitars blended seamlessly in traditional songs. Only thing that was sorely missed was Bansuri (बासरी). Bansuri pieces were played on keyboard. Had it been the real instrument it would have multiplied the joy!

Sound was flawless. Special mention should go to lighting system. It was smart lighting enhancing the impact. Not only light but the absence of it that is darkness was very effectively used to take positions. Full marks to the fabulous lighting!

There were two 'once mores' and I am sure they were rigged. Organizers had pre determined them and their accomplices called for them. Such perfect coordination and improvisation is not possible spontaneously. More over they ignored all other 'once more' calls from audience.

With houseful auditorium and 125 artists involved in the show stage was always full but not crowded. So many things were happening on the stage that audience did not know where to look. It was spectacular!

A high octane performance. What a spectacle! Don't miss it.

Entertainment rating 9.5/10.

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.

Bhava Sargam (भावसरगम) - Pt. Hridaynath Mangeshkar (पं. ह्रदयनाथ मंगेशकर)

Attended concert titled 'Bhava Sargam' (भावसरगम) of Pt. Hridaynath Mangeshkar (पं. ह्रदयनाथ मंगेशकर) (Vocal) accompanied by Radha Mangeshkar (Vocal), Dr. Rajendra Durkar & Vishal Gandatrawar (Percussions) on 29th Aug 2015 at Balgandharv Rangmandir, Pune with Makarand, Shilpa and my father-in-law.

Concert started with a virani (वीराणी) from Dnyaneshwari (ज्ञानेश्वरी) 'Awachita parimalu (अवचिता परीमळु)' followed by 'Runuzunu runuzunu (रुणुझुणु रुणुझुणु )' again from Dnyaneshwari. Then he took a song of a completely different mood 'Tu tenvha tashi (तू तेंव्हा तशी)' followed by 'Lajun hasne an (लाजून हासणे अन्)'. Then he presented a farmaish 'Jiva shivachi bail jod (जीवाशिवाची बैल जोडं)' followed by abhang 'Are are Dnyana zala (अरे अरे ज्ञाना झाला)'. He quipped that this is one of the rare Dnyaneshwar abhang that does not contain his namamudra 'Bap Rakhuma Devi waru (बाप रखुमा देवी वरू)'.

His daughter, Radha, then joined him. They sang 'Maze Rani maze moga (माझे रानी माझे मोगा)', Bha Ra Tambe's 'Mawaltya Dinakara (मावळत्या दिनकरा)', Arti Prabhu's 'Don he ahet pele (दोन हे आहेत पेले)', Suresh Bhat's gazals 'Kenvha tari pahate (केंव्हा तरी पहाटे)' and unknown 'Ujadlyawari sakhya (उजाडल्यावरी सख्या)' followed by 'Sur ale juluni (सूर आले जुळुनी)' before interval of the program.

He was out of tune (बेसुर) many times in the first half. 79 years of age has had an effect on his singing. The song 'Mawaltya dinakara' describes the situation aptly. I was really worried about the proceedings and hoped second half would be better.

Post interval session started with 'Mazya saranga (माझ्या सारंगा)' followed by 'Amhi thakar thakar (आम्ही ठाकरं ठाकरं)', 'Gorya deha warati kanti (गोऱ्या देहावरती कांती)', 'Nabha utaru ale (नभ उतरू आलं)'. Radha started this song in high pitch and struggled when it reached even higher. This was followed by medley of 'Chla jaiyo bedarda (चला जईयो बेदर्दा)' to 'Jambhul piklya zada khali (जांभुळ पिकल्या झाडाखाली)' to 'Koyal bole rama (कोयल बोले रामा)', to 'Gulabi chire wala (गुलाबी चिरेवाला)' and back to 'Jambhul piklya (जांभुळ पिकल्या) '.

He then presented 'Kesariya balama (केसरीया बालमा)'. This was very good. Panditji then provided Makarand with a memorable gift by singing his farmaish 'Mharari giridhar gopal (म्हारारी गिरीधर गोपाल)'. Then he presented excellent rendition of 'Malaun tak deep (मालऊन टाक दीप)'. It was so heart felt and soulful that it gave goose pimples to the listeners. It was by far the best item of the evening. Audience appreciated it with a very long applause. Panditji's humility was evident when he gave all credit to his Guru. Then he presented 'Purtata mazya vyathechi (पूर्ततता माझ्या व्यथेची)' and 'Ti geli tenvha rimzim (ती गेली तेंव्हां रिमझिम)'.

In the last section he started with bandish 'Rasoolillah (रसूलिल्लाह)', then seamlessly moved into 'Dayaghana (दयाघना)' and then back to 'Rasoolillah  (रसूलिल्लाह) '. Concert was concluded with 'Aji soniyacha dinu (आजी सोनीयाचा दिनु)' from Dnyaneshwari.

Second half salvaged the situation. I did not repent the decision of attending.

Panditji encouraged the audience for farmaish and promised to fulfill as many as possible, but in reality fulfilled only those he wanted.

Many of the songs he sung were different from the recorded version. So it would have been disappointing for those who wanted it to match recorded version but those who relish improvisations would have liked it.

Radha was good. She had some difficulty while singing in higher scale. One should not compare her with her legendary aunts (Lata, Asha and Usha) as she is no match, then you like her.

Dr.Durkar and Vishal played very well and were applauded. There were two percussionists but they were placed on right side of the singer instead of either side. Curious.

This auditorium was a point of reference once upon a time. But now it's in a sorry state with pan stains and state of neglect, though the seats are still good.

Entertainment rating: first half 5/10, second half 8/10.