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.

Varad Bhosale (Sitar)

Attended a concert of Varad Bhosale (Sitar) accompanied by Unmesha Athavale (Tabla) at 39th Sangeet Samrat Alladiyakhan music festival on 8th April 2016.

Varad Bhosale (Etava Gharana & Imdadkhani style) hails from Kolhapur. He is disciple of Pt. Arvind Parikh. He is only 17 years old.

Raga chosen for the concert was Raag Bhimpalasi (भीमपलासी) of Kafi that (काफी थाट). First Varad played Aalap followed by Jod followed by Jhala.

Unmesha joined him then. Tabla had some problem and had to be tuned four times forcing pauses, causing annoyance to all. Every time Varad guided her to tune Tabla. Initially she played a different kind of Tabla arriving on sum (सम) at the opportune time. Varad then played a drut (दृत) composition in Teen taal (तीन ताल). He had to tell the correct lay (लय) to Unmesha a couple of times.

Young Varad played very well. His long slender fingers ran effortlessly on Sitar. He also had good music sense. His composure and poise bellied his age. As he matures we can expect much more from him. He is a star in making.

Unmesha, who has learned Tabla from her Guru Fazal Qureshi, started very well, lost her way a bit while Tabla tuning problem persisted but recovered later.

Special mention should go to organizers of this festival for giving platform to young upcoming artists. This is how audience comes to know about the future starts.

Duration of the concert was less than 1 hr. Attendance was sparse owing to festival (Gudhi Padva), timing (3 PM) & holiday.

Trivia: Unmesha used copper Dagga (डग्गा).

Entertainment rating 8.25/10.

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.

Ramprapanna Bhattacharya (Sitar)

Attended a concert of Ramprapanna Bhattacharya (Sitar) accompanied by Unmesh Banerjee (Tabla) at NCPA, Mumbai as part of Saz-e-Bahar festival on 2nd April 2016 with Ravi, Rekha Kaku and Alhad Kaka.

Ramprapanna Bhattacharya (Etawah Gharana) is disciple of Pt. Kashinath Mukherjee and Pt. Arvind Parikh.

He dedicated the concert to Shehnai maestro Ali Ahmed Hussain and Tabla maestro Shankar Ghosh who passed away recently. It was the birthday of Ustaad Bade Gulam Ali Khan and he announced that he will play his composition but eventually did not specify which one was it.

Chosen raag of the concert was Raag Bihag (बिहाग). Concert started with Aalap then moved into Jod, followed by Jhala.

Tabalji then joined him with Teen taal. Tabla volume was on lower side. It was rectified mid way. Ramprapanna played well and tried his best to win the audience back.

When he slid his hand over Sitar there was a sound of hand sliding over threads (Sitar version of car passing over multiple spread breakers at speed). That was a noise (रसभंग) in good music.

Ramprapanna plays well. But today rather than playing melodious or gayki Sitar he preferred to play fast notes with a lot of strumming. Audience was not very responsive, so he tried even harder. In the process the fine balance was lost.

Tabalji joined late and got about 15-20 minutes of playing time (considering short time of concert of about 1 hr) and played well.

Audience clapped exactly 4 times, including the conclusion of concert. Some also left mid way, probably they had some pressing matters to attend.

Can't post any photograph of concerts as organizers did not allow photography.

Trivia: Ramprapanna was playing at NCPA after exactly 10 years.

Entertainment rating 7/10.

Ojas Adhiya (Tabla)

Attended a concert of Ojas Adhiya (Tabla) accompanied by Siddhesh Bicholkar (Harmonium) at NCPA, Mumbai as part of "Saz-e-Bahar" festival on 2nd April 2016 with Ravi, Alhad Kaka & Rekha Kaku.

Ojas Adhiya (Ajrada Gharana) hails from Mumbai. He holds Limca Book record of being the youngest Tabla player. He is disciple of Mridangraj ji.

Concert started with Teen taal (तीन ताल). Siddhesh started with a beautiful piece and was instantly appreciated by audience as well as Ojas. First Ojas played vilambit (विलंबित) demonstrating controlled Tabla. Then he shifted to madhyalay (मध्यलय). Ojas presented Kayda from Delhi Gharana. Finally he changed gear to drut (16X). He also displayed excellent dagga play.

He then presented Ajrada Gharana Kayda. Ojas showed his skill with lightning fast fingers. At times it was difficult to see fingers in the blur of motion. Audience was mesmerized with his Tabla and applauded the artist multiple times. His ghi-da-na-ga (घि ड न ग) was too good. He presented a beautiful Tripalli Gat(त्रिपल्ली गत) followed by Chakradhar (चक्रधर).

Concert concluded with 'nau dha ki gat (नौ धा की गत)', a Gat with 9 dha (धा) that resembles bells in a mandir (मंदिर) during Arati (आरती).

His kayda's (कायदा), tukda's (तुकडा), rela's(रेला), palta's (पलटा), tihai's (तिहाई) and chakradar's (चक्रधर) were awesome. He played pure Tabla without resorting to modern gimmicks most of the time.

Ojas is a fantastic artist. He is already rated amongst top Tabla players in India. More accolades are to follow.

Siddhesh played a very sweet sounding lehra. He knew exactly when to increase and decrease the volume of harmonium. He played his lehra in Raag Maduwanti (मधुवंती).

When I had met Ojas more than a year ago in Abu Dhabi and asked him what is the correct duration for a solo Tabla concert, he had replied that it should not be more than 1 hr to 1 hr 15 min. He walked the talk today. The duration of concert was 50 min.

Can't post any photograph of concerts as organizers did not allow photography. Just photo with the artist.

Wow, what a concert!

Entertainment rating 9.5/10.